Fosse style and ideas regarding gender have radicalised and politicised gender in popular dance on screen. This thesis examines the construction of femininity in Fosse‟s dance repertory for screen through choreography, filmic techniques, and performances by female dancers. Firmly situated in dance analysis, this research relies on an interdisciplinary methodology, which includes dance studies, gender studies, feminist film theory, and post-structuralism. Using theoretical discourses on masquerade, camp sensibility, and feminist film theory the analysis examines the way that female bodies are marked as feminine with choreography and screendance techniques to construct a theatrical performance of hyper-femininity as a political strategy to questions discourses surrounding representations of women in musical films. This thesis critically evaluates the aesthetic properties of spectacle, exaggeration, and artifice in Fosse‟s choreography and its effect on implications of femininity. Representations of femininity are considered in light of aesthetics, specifically excess exhibited through glamour and the grotesque, as a means to comment on gender performativity. This study concentrates on dancing performed by female dancers in Fosse‟s work for screen in order to highlight the construction of femininity as a factor to challenge the hetero-normative, patriarchal system, which surrounds film production and positions images of women as passive. Using poststructural theory, the analysis focuses on the creative labour and corporeal identity of female dancers to challenge Fosse as a sole author of the dances. The examination of historiography indicates that Fosse‟s iconographic dance style and innovation in the way that dance is filmed continues influence on popular dance choreography in the late twentieth and twenty-first century furthers the discussion on authorship and transmission of physical vocabularies through time. Looking through a feminist lens, this study seeks to examine corporeality as subjectivity in order to examine notions of agency and power of female dancers in Fosse‟s work by employing the idea that dance theorises femininity within the film format.

abstract: “Mierda.” was an original 50-minute solo dance and theater performance by Jordan Klitzke along with guest artist Gina Jurek that premiered from September 6-8, 2018 at Arizona State University. The creative tools of sensation, presence, and fantasy were applied in the development of an individualized movement vocabulary focused on the artist’s embodiment of contrasting ideas. That research was then further cultivated into an immersive theatrical collage that stimulated relational thinking and heightened consciousness. “Mierda.” was an example of a contemporary creative process that utilized the languages of dance and theater. The performance was a unique continuation of artistic research undertaken by pioneers in the dance and theater fields such as Danielle Agami, Lloyd Newson, Hofesh Schechter, and Anne Bogart. It was documented and created over a nine-month period including the three final performances. The form and content of “Mierda.” was not predetermined, but emerged throughout the creative process and performance of the work. The resulting narrative demonstrated the revelatory potential of this style of theatrical inquiry. Precise energy, tension and questioning formed an immersive, intimate experience for the viewers and performers and invited the audience to “fill in the blanks” as they connected with the emerging narrative. The final work was a collage of surprising juxtapositions on both the micro-level of individual movements and the macro-level of theatrical structure. Analysis of the work resulted in a critical understanding of the creative tools used along with future proposals for continued research. Not only did the research enlighten and contextualize the practices of an emerging choreographer, it also argued for a new understanding of the value of Dance as a personal practice of reflection and growth. / Dissertation/Thesis / Masters Thesis Dance 2018

Performing the work of William Shakespeare can be daunting to new actors. Author Herb Parker posits that his work is played easier if actors think of the plays as happening out of outrageous situations, and remember just how non-realistic and presentational Shakespeare’s plays were meant to be performed. The plays are driven by language and the spoken word, and the themes and plots are absolutely out of the ordinary and fantastic―the very definition of outrageous. With exercises, improvisations, and coaching points, Acting Shakespeare is Outrageous! helps actors use the words Shakespeare wrote as a tool to perform him, and to create exciting and moving performances. / https://dc.etsu.edu/etsu_books/1138/thumbnail.jpg

Rekindling the flame: the revival of the sadir katcheri (bharata natyam) -- "It is a strict law that bids us dance": the Kwakiutl Hamatsa dance -- Poetry in motion: the hula -- We are all on this earth together: the Plains Indians sun dance -- The churning of the oceans: the survival of the Khmer classical dance ofCambodia -- Of two worlds: the whirling dervishes of Kenya -- A better way of life: the ghost dance of the Plains Indians -- "The only people can shout is right here": the unbroken chain of the ring-shout dance -- Visca sardana!: the astronomical dance of Catalonia -- Capoeiristas: righteous avengers -- The raqs sharqi (belly dance) faces trouble -- Bringing in the May -- All's well that ends well: the English Morris dance -- Feet on fire: Irish dance at the crossroads -- Sacred, yet profane: the Afro-Brazilian batuque and samba -- It takes two to tango! "This work provides an exploration of dances banned around the world. The sixteen case studies reveal the meaning of the dance to each culture and the importance of the art form to the creation of healthy sociological and political climates. Chapters detail each dance's origins, technical steps and movements, costumes, music, and political history." / https://dc.etsu.edu/etsu_books/1083/thumbnail.jpg

abstract: Hans Gál is arguably one of the most underrated, underperformed and forgotten composers of the twentieth century. Once a prolific composer in the 1920s and 1930s, Gál’s career was cut short by the Nazi regime in 1933 when he was fired, and his works banned due to his Jewish heritage. Following the Second World War, his music was relegated as obsolete, belonging to a bygone era. Hans Gál is a perfect example of the intransigence, superficiality, and discrimination of the evolving musical fashion, and his life-story speaks to the misfortunes and persecution of the Jewish people in the mid-twentieth century. Consequently, Hans Gál is known today mainly as an educator, scholar, and editor of Brahms’s works, rather than as a composer, despite an impressive compositional output spanning over 70 years covering every major musical genre. Within his impressive oeuvre are several little-known gems of the violin repertoire, including the Sonata in D for Violin and Piano and Violin Concerto op. 39 among others. Scholarly writings on Gál and his music are unfortunately scarce, particularly such works exploring his violin music. However, recent years have seen an increased interest in resurrecting the music of Gál. Recordings of his major works as well as research of his music have furthered the awareness and understating of this forgotten composer’s music. In my document, I will continue the path of recent rediscovery and celebration of this unsung hero of twentieth-century post-Romanticism with an in-depth look at his Sonata in D for Violin and Piano (1933). A light-hearted, accessible and unpretentious work, the Sonata in D distinguishes itself in the violin-piano sonata repertoire of the interwar period by its witty, clear use of form and motivic/thematic unity in the vein of the great Viennese masters. Gál’s take on traditional idioms such as tonality, coupled with masterful use of the implication/realization process, create a highly original and noteworthy style, that renders the Sonata in D an immediately appealing work for performers and listeners alike. / Dissertation/Thesis / Doctoral Dissertation Music 2019

abstract: In the 1950s, Miguel Llobet (1878–1938) and Emilio Pujol (1886–1980) published the first transcriptions of piano and orchestral music for two guitars that became staples in the repertoire. Ida Presti (1924–1967) and Alexandre Lagoya (1929–1999) expanded their efforts with new adaptations of Baroque, Romantic, and Modern music. Following their examples, generations of professional guitar duos have maintained a similar transcription repertoire. However, closer examination reveals noticeable gaps in it as Renaissance works have been largely overlooked. To illuminate this issue, chapter 2 revisits adaptations for two guitars of music originally written for vihuelas, lutes, viols, and the virginal to inquire about the reasons for this neglect and discuss plausible solutions. Because the virginal stands out for its innovative characteristics and alignment with the solo lute works by John Dowland (1563–1626) and John Johnson (ca. 1545–1594), the “English School” of Virginalists is further explored as a potential source of suitable works for transcriptions. Chapter 3 discusses philosophical concepts and editorial practices to propose a method aimed at producing stylistically faithful adaptations of virginal music. The editorial criteria for this method are informed by in-depth reflections on terminology, the ontology of musical works, the notion of authenticity, and common sixteenth-century practices from musica ficta to tuning temperaments and notational conventions. Concerning ethical matters, this chapter assesses authorship issues that originated at the turn of the nineteenth century but are still adopted by modern editors and transcribers. This discussion aims to shed light on both the negative impact on intellectual property and how it can be avoided by simply resorting to the practice of scholarly transcriptions. Chapters 4 and 5 explain the procedures and applications of the proposed method in two parts: adaptation and revision. The first introduces concepts and strategies from choosing suitable works to balancing playability and aesthetic fidelity intended to produce a preliminary version of the original work. The second establishes a knowledge base through musico-historical discussions and comparative analyses of sources that inform editorial decisions and necessary changes to be implemented in the final score. / Dissertation/Thesis / Doctoral Dissertation Music 2019

abstract: Every collaborative pianist encounters unrealistic and unsuccessful piano reductions of orchestral and operatic compositions on a regular basis. In some cases, the reductions were realized by the composers themselves, and therefore may contain all the notes from the full score, but might not be realistic piano reductions. Other times, the reductions may have been made by an editor who might arrange the piano part according to their own physical abilities, experience, or taste, but might ignore essential elements of the original orchestration. Alexander Glazunov’s Concerto for Violin and Orchestra, Op. 82 is frequently performed by students and professional violinists alike. The existing piano reduction of the concerto was written by the composer himself. However, the reduction has various issues that make performing this composition challenging for pianists. The main purpose of this paper is not the simplification of the existing reduction, but the creation of a new reduction that is more pianistic and approachable, yet more true to Glazunov’s dynamic and expressive orchestration. The first chapter of this project is an introduction to and comparison of currently available editions. An overview of the composer’s biography and the historical background of the composition comprise the second chapter. Chapters three, four and five are dedicated to each respective movement of the concerto, with explanations and details about certain editorial decisions. The appendix features a new piano reduction of Glazunov’s Violin Concerto in its entirety. / Dissertation/Thesis / Doctoral Dissertation Music 2019

abstract: This project uses fourteen transcriptions of Pete Fountain’s solos as examples to demonstrate traditional jazz clarinet techniques and language in terms of motives, patterns, and a variety of articulations. This project also includes guidelines on how to practice jazz improvisation as well as how to apply Fountain’s techniques and jazz language to one’s own improvisation. Though there are countless musicians who have made remarkable contributions to the development of the jazz language, Pete Fountain’s unique style is particularly worthy of study due to his massive media presence, effortless playing techniques, unique tone quality, and showmanship throughout his career. / Dissertation/Thesis / Doctoral Dissertation Music 2019

abstract: This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres. The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time. / Dissertation/Thesis / Doctoral Dissertation Music 2019

abstract: This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019. / Dissertation/Thesis / Saxophone Quartet No. 2 by Frank Nawrot / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 1. All Together, Now / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 2. Play Pretty / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 3. A Minute Past Crazy / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 4. Is This Funky? / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 5. No, But This Is / Rhythm and Tone Study #3 by Josh Bennett / Fragments of A Narrative by Ben Stevenson - Mvt 1. Skittish / Fragments of A Narrative by Ben Stevenson - Mvt 2. Tense / Fragments of A Narrative by Ben Stevenson - Mvt 3. Rock Forever / Tarkus by Emerson, Lake & Palmer - Arranged by Pete Ford / Doctoral Dissertation Music 2019