Requiem masses have been an important part of classical music literature since the late 15th century and have been used as masses for the dead during funerals. Over the centuries the use of the requiem text has become more common because composers are setting the text more often. However, composers such as Britten, Penderecki, and Forrest use extra-liturgical poems within their requiem masses, as well as the original Latin which is derived from the Liber Usualis. More recently, composers have been writing requiem masses that are untraditional in the sense that they are not just about loss of life, yet still retain solemnity and reverence. Requiem for a Mother is written from the perspective of a grieving mother who is coping with the loss of her child. Requiem for a Mother makes use of a chamber choir, strings (4, 4, 3, 2, 1), harp, and piano, as well as a soprano soloist to tell a story of grief, love, and acceptance. The choir, singing the Latin text, is that of the people who support the family during their time of loss and grief, while the role of the soprano soloist, singing in English, is that of the mother who is trying to understand why her child is dead. The duration of the requiem is about 25 minutes, with a total of nine movements The requiem begins with a prelude, in B minor, that sets up the themes to be used throughout the other movements. Movement II, the first of the soprano solos, depicts the mother reaction to losing her child. As the requiem closes with In Paradisum, the mother comes to terms with her loss and is able to accept what happened and move on. Requiem for a Mother is dedicated to Danny Quinn. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester 2016. / April 11, 2016. / Manners, Mother, Requiem, Robert, Soprano, Viola / Includes bibliographical references. / Clifton Callender, Professor Directing Thesis; Mark Wingate, Committee Member; Kevin Fenton, Committee Member.

This research project presents four new works for the violin and various chamber ensembles, which I commissioned from Dr. Liduino Pitombeira and his students Helder Oliveira, Marcel Castro-Lima and Gabriel Mesquita, at Universidade Federal do Rio de Janeiro. The pieces were composed using systemic modeling, a new compositional tool created by Pitombeira and his students, which facilitates the creation of a compositional plan for a new piece through the analysis of one or more of the main parameters of an exist piece. In order to fully understand the context in which these works have been created, this treatise includes a survey of Pitombeira's career and works within the larger picture of Brazilian music history; an overview of systemic modeling as a compositional tool; a brief analysis of the commissioned works, including comments on general performance orientation; and finally, a case study in the composer-performer relations. / A Treatise submitted to the College of Music in partial fulfillment of the Doctor of Music. / Spring Semester 2017. / April 3, 2017. / analysis, composition, Music, Performance, Pitombeira, Violin / Includes bibliographical references. / Benjamin Sung, Professor Directing Treatise; Peggy Sharpe, University Representative; Shannon Thomas, Committee Member; Greg Sauer, Committee Member.

No description available.

How effective is manipulation when applied, if it's mechanisms are simultaneously exposed? This essay is a reflection on my play "ROM COM - en romantisk komedi", which premiered at Kulturhuset Stadsteatern in Stockholm in late May 2022, a genre piece which consistently strives to draw it's audience's attention to the form, tropes and conventions it uses to influence their emotions.

The production process for a horror production for a young audience. How the planing process is a part of a whole teams artistic process, from the view poin of technical production manegment.

No description available.

No description available.

No description available.

No description available.

The purpose of this document is to make the reader aware of two areas of vocal Brazilian music that have long been neglected, and are now receiving the attention of researchers and performers: Brazilian Portuguese lyric diction and the operas of Brazilian composer Antônio Carlos Gomes. Many people are familiar with popular genres of Brazilian music. The samba, bossa nova, choro and the driving rhythms associated with carnival dances are widely popular among the general public. However, few are familiar with the classical vocal repertoire. The first section is dedicated to pedagogical tools for teaching Brazilian Portuguese diction. American singers will find the process of preparing Brazilian repertoire more accessible with this concise but objective guide. The second half is a discussion of the operatic works of Antônio Carlos Gomes, with focus on Gomes as a transitional figure from the bel canto to verismo in Italy in the second half the 19th century, as well as his contributions to the operatic repertoire. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2017. / November 7, 2017. / Antonio Carlos Gomes, Brazilian Portuguese, Lyric diction, Opera, Voice / Includes bibliographical references. / Valerie M. Trujillo, Professor Directing Treatise; Evan Allan Jones, University Representative; Douglas L. Fisher, Committee Member; Joseph C. Kraus, Committee Member.