Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references(leaves [121]-123).

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references(leaves [121]-123).

Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one time, will question the existence and nature of God. The play does not presume to answer these questions, but allows each participant to decide for himself, as Raven must decide for herself.

When translating musicals from one culture to another, a translator’s role is to convert the text for its stage representation in a different context. However, during the process from this translated text to it finally being performed on stage, changes are inevitable. Issues surrounding the nature of such changes, the reasons for which they are made, and their resulting effects, have hitherto been little researched. The present study seeks to explore such issues through an examination of the ways in which the development of the translated text is shaped by interactions between the various stakeholders including professional translators, fans and production team members, i.e. the director and actors, as well as the audience themselves. Employing some of the major concepts of Actor Network Theory as the principal theoretical framework, together with a case study approach combining textual analysis and empirical studies, this project focuses on Putonghua translations of Western musicals on the Chinese mainland. More specifically, through investigating three of the most recent and professionally translated and performed Western musicals: I love you, you’re perfect, now change (USA), Spin (Finland), and Mamma Mia! (UK), it intends to show how differing stakeholder perspectives on issues of performability and reception are negotiated to produce a commercially successful translation product.

Biliana Velkova-The Musical is a personal story about coming of age within two distinct ideologies, communism and capitalism and the impact of immigration and assimilation. It also gives a glimpse of my two worlds and my navigation between them. And lastly, I hope that it adds to our collective memory of communism, no matter what the reality of it was. My project becomes part of the dialogue that is currently surfacing around the relevance of post communist realities and discourse.

Biliana Velkova-The Musical is a personal story about coming of age within two distinct ideologies, communism and capitalism and the impact of immigration and assimilation. It also gives a glimpse of my two worlds and my navigation between them. And lastly, I hope that it adds to our collective memory of communism, no matter what the reality of it was. My project becomes part of the dialogue that is currently surfacing around the relevance of post communist realities and discourse.

Thesis (Ph. D)--University of Rochester, 2009. / Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10968

In 1951, Saul Chaplin, John Green, and Conrad Salinger adapted the music of composer George Gershwin (1898-1937) for a film musical titled An American in Paris, the finale of which was a 17-minute ballet scene set to a modified version of the composer’s tone poem from 1928. The plot bears broad similarities to isolated aspects of George Gershwin’s life. Such narrative elements offered a scaffold for an attractive subtext explored through the film score: a review of the trajectory and breadth of George Gershwin's compositional career from 1922-1937. My own analysis of the film and its score, using the techniques of Lars Franke, further illustrates how the creators of An American in Paris used the cinematic frame to comment on George Gershwin's life and to respond to contemporary critics as well as fans of his music.

Thesis (D. Mus. Arts)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 199-205).

Thesis (M.A.)--University of Central Florida, 2008. / Adviser: Kimiko Akita. English text; some Chinese characters. Includes bibliographical references (p. 58-66).