Treatise (D.M.A.)--University of Texas at Austin, 2004. / Supervisors: Michael Tusa and Rose Taylor. Vita. Includes bibliographical references. Also available from UMI.

Thesis (M.M.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Mark Engebretson; submitted to the School of Music.

A Different Drummer is a chamber opera adaptation of Donald Davis's story "A Different Drummer" from his collection Listening for the Crack of Dawn, published by August House. The opera lasts about seventy minutes, and calls for a cast of three and an orchestra of sixteen players. It contains a prologue, epilogue and four scenes in a single act. The score is prefaced by a paper describing the musical strategies employed in setting the story as an opera. Three chapters describe the adaptation from short story to opera, the essential musical elements, and details of the application of the musical elements in each scene of the opera. The libretto is presented in the fourth chapter.

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Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

A creative work and dissertation in fulfilment of the requirements for the degree of Master of Arts (Research) Macquarie University, Division of Humanities, Dept. of Contemporary Music Studies. / Dissertation, libretto and score of the opera. / Thesis (MA)--Macquarie University (Division of Humanities, Dept. of Contemporary Music Studies), 2005. / Bibliography: p. 138-141. / Introduction -- Historical background and literature review -- Structural and philosophic changes -- Chamber opera: a genre in evolution -- Chamber opera: its potential for the future -- The personal experiment -- Conclusion.. / From its origins as chamber opera just over four hundred years ago, Opera developed through the 18th and 19th centuries, in length and complexity, to attain the status of 'grand', a term that most people associate with opera to this day ... At the beginning of the 20th century, radical innovations in the arts influenced by movements such as the Bauhaus phenomenon, added to the aftermath of a world war that shattered existing socio-political structures and artistic sentiments turned from extroverted displays of grandeur to the creation of more cerebral, introverted styles. ... On the threshold of a new millennium, small, often experimental companies, passionately convinced of the relevance of, and excited by the artistic potential inherent in this revitalized form of opera, formed a loose consortium of creative artists internationally, similar in spirit to the original Camerata of the 16th century, making use of current technologies. Whether these newer works may be styled 'chamber opera' or 'music theatre', they represent a form in evolution, capable of further development into a new genre, a vital nexus of traditional skills applied to current issues, peculiarly suited to integration with electronic modes such as television. / Mode of access: World Wide Web. / 141 leaves music

Thesis (B.S.) Magna Cum Laude--Butler University, 2001. / Includes bibliographical references (leaves 60-61).

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published_or_final_version / abstract / Humanities / Master / Master of Philosophy

Love at Second sight is a twenty-five-minute chamber opera in two scenes for soprano, tenor, baritone, and piano. The libretto was written by theorist Dr. Robert Hatten and is loosely based on a short story by F. Scott Fitzgerald called "Love in the Night." Composing an opera poses many significant challenges, including the crafting of the right music to support the drama, writing idiomatically for the voice, and composing in a number of styles. The first chapter of this treatise discusses my reasons for writing an opera, the creation of the libretto, challenges inherent in the medium, and some influential works that helped shape the work. The second chapter is a complete scene-by-scene analysis along with some information on the major motives and harmonic language used throughout the work. / text