Thesis (M.F.A.)--Kent State University, 2009. / Title from PDF t.p. (viewed March 31, 2010). Advisor: Sharon Campbell. Keywords: costume; Forum; musical; Sondheim. Includes bibliographical references (p. 98)

Thesis (M.F.A.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains v, 44 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 36).

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This dissertation develops the premise that, whilst conceding the difficulties inherent in the medium, musical theatre should be regarded as an art form, worthy of serious critical evaluation. This view is supported by a detailed examination of four works, chosen from different periods of Sondheim's career: A Funny Thing Happened on the Way to the Forum (1962); Sweeney Todd (1979); Into the Woods (1988) and Assassins (1991). The argument develops through the application of accepted literary critical procedures and systematically examines the thematic and prosodic content of the lyrics, as well as their dramatic potentiality, growing in Sondheim's more mature works, which suggests a seriousness of intent manifest in other forms of the dramatic arts. The emotional and dramatic contribution of the music is examined, in the way it creates mood and atmosphere and modifies or comments on action and character, promoting a musical vocabulary that accommodates a dramatic function. / English Studies / M.A. (English)

The purpose of the study was to examine the musical methods used by Stephen Sondheim to create a sense of internal unity in scores that, because of the nature of musical theater, required diverse styles of composition and often involved extended periods of time between the occurrence of musical selections. This dissertation topic was chosen in an attempt to provide evidence of the utter sophistication with which Sondheim pursues his craft.The perspective taken was that of a conductor analyzing the scores as if in preparation for rehearsing the cast of a production. The assumption was that a more convincing performance would result from the performers' awareness of the devices used to achieve continuity from selection to selection.Findings1. In both scores, Sondheim employs ostinato, counterpoint, syncopation, and hemiola as primary rhythmic material.2. In both scores, Sondheim presents his primary motives at the beginning of the score and uses them exclusively to generate all melodic material in the work.3. Sondheim is consistent in his harmonic language, revealing a decided preference for extended diatonic and chromatically-altered chords. He uses simple, "pure" triadic harmony on relatively few occasions. He often uses his dense harmoric structures to reflect the tension inherent in the dramatic situation.

This dissertation develops the premise that, whilst conceding the difficulties inherent in the medium, musical theatre should be regarded as an art form, worthy of serious critical evaluation. This view is supported by a detailed examination of four works, chosen from different periods of Sondheim's career: A Funny Thing Happened on the Way to the Forum (1962); Sweeney Todd (1979); Into the Woods (1988) and Assassins (1991). The argument develops through the application of accepted literary critical procedures and systematically examines the thematic and prosodic content of the lyrics, as well as their dramatic potentiality, growing in Sondheim's more mature works, which suggests a seriousness of intent manifest in other forms of the dramatic arts. The emotional and dramatic contribution of the music is examined, in the way it creates mood and atmosphere and modifies or comments on action and character, promoting a musical vocabulary that accommodates a dramatic function. / English Studies / M.A. (English)

This study presents research relevant to the performance of four different mezzo-soprano songs from musicals composed by Stephen Sondheim. The research first gives a comprehensive overview of the contributions of Sondheim to the American Musical Theatre genre, and compares and contrasts his treatment of mezzo-soprano characters with that of his contemporaries. The project also investigates details regarding cultural and historical influences over the four musicals. Additionally, the study includes character analyses and musical analyses for each of the selected characters and their respective songs. The research is synthesized in order to provide suggestions of ways mezzo-sopranos can incorporate this research into their performance, in order to give a more informed and educated presentation of the selected pieces. / The contributions of Stephen Sondheim -- Mezzo-sopranos of the American musical -- Amy in Company (1970) -- Beth in Merrily we roll along (1981) -- The bakers wife in Into the woods (1987) -- Lynette "Squeaky" Fromme in Assassins (1990). / School of Music

Stephen Sondheim’s 1979 award-winning musical Sweeney Todd: The Demon Barber of Fleet Street was produced during a time of great political and economic uncertainty in New York City. Although not overtly political, the themes of urban crisis and class inequality that birthed the original legend of Sweeney Todd in Industrial Revolution London continued to play a large role within the modern musical, reflecting leftist political concerns at large. The main political argument within the work is the critique of class hierarchies created by capitalism and how the upper classes abuse the lower classes, ie. how Judge Turpin uses his power to abuse Sweeney Todd and the grave consequences of such actions. Less obvious, however, are the importance of gender hierarchy and the objectification of women within this anti-capitalist critique. This paper focuses on the character of Johanna and the three songs sung about her by the three main male leads. These songs provide a case study of how gendered objectification and commodification play a significant role in the overall Marxist critique intrinsic to the musical and the Sweeney Todd legend overall. The work’s rootedness in the anti-capitalist critique of the New Left in the 1970s and the concurrent rise of Marxist and socialist feminism provide clues to understanding the context and meaning behind the violent treatment of women within the musical as an extension of the anti-capitalist critique that is fundamental to the work. / text