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There was Vietnam in books. And this war and that war. And is war just? And is justice fair? And is there poetry there? Anywhere? In pockets, around certain corners? On buses? In gardens? On Sundays? And there where? And there why? And says who? And--we should talk about it more. Why don't we talk about war?

Surrendering to what is the nature of compassion, the power of silence, a true commitment to the character, a complete freedom of the imagination, and the will, at any given moment, to let go of who we think we are in order to become who we are meant to be - has been the greatest teacher of all. .-Eckhart Tolle

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The mass of words written about the German poet and prose writer Heinrich Heine (1?97-1856) is intimidating. He is considered to be one of the most controversial and paradoxical authors of the Western literature, an enigmatic figure among German writers, and the only German writer between Goethe and Thomas Mann to achieve during his lifetime a reputation beyond the bounds of German-speaking countries. He has been termed "the pioneer of radical political literature, an eccentric poet." His works became a milestone of German thought.

Current research in music scholarship appears to be trending towards the “embodied” yet from the vantage point of the performer this progression seems to be lacking a key component of such an embodied discourse: their voice. In this thesis I argue that the oversight of the performing body and its importance to the field of musicology is a result of conceptual dualities that attempt to conceal the body in its role within thought, culture, and meaning. Illustrating this oversight with the gaps in the current academic discourse, I show how many in the field either consider the body only in a metaphorical sense, or see the performer as an object of study. An examination of the contributions of three performer-scholars to this field demonstrates ways in which the gap can be filled, and lack addressed. Their approaches are then combined in an embodied analysis of Messiaen’s “Abîme des Oiseaux” from Quatour pour la Fin du Temps which reveals the potentialities of depth and breadth that can be considered when the performer’s body is permitted to be a site from which a musical analysis might originate. This thesis concludes that the performing body must be reintroduced into musicological discourse with a new understanding of its value, and that this can best be accomplished by addressing the “embodied” within the academic music curriculum, alongside traditional tonal and formal analyses.

During the research for the components of a musical production tour company of “The Sound of Music” (Play by Lindsey and Cruze and Music by Rodgers and Hammerstein), the Producer begins with constructing the organizational structure and ascribing essential jobs focusing on the Stage Manager’s position and his duties. As an organized and informative leader, the Stage Manager’s main responsibility is to create a book which will assist him/her in processing necessary evolving data into a clear and communicative information. During the production phases, The Stage Manager’s book assists with managing technical and artistic needs using distinctive lists: sound, lights, props, costume, and ground plans. Also, it assists the Stage Manager in prompting sound, light and crew cues from a well-prepared prompt script, which generates smooth rehearsals and performances. Thus, in a large musical capacity the creation of a Stage Manager’s book is an inevitable organizational production tool.

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Written to fulfill a partial requirement for the Masters of Fine Arts degree from the University of Iowa, this is an exploration of Kevin Argus' journey as an actor. It is a personal text that documents his relationship with: the present moment, the state, and mask, which are the necessary requirements for great acting. He asks, "How can you drop into the present moment? How can you expand the state to give others a visceral feeling? How can you create a specific character?" It goes on to recount pitfalls in the rehearsal process and the performance that are frequently encountered.