碩士 / 國立臺灣師範大學 / 音樂學系在職進修碩士班 / 95 / Existing in many documents, “Show Boat” reveals its significance in the history for its transiting and bridging roles between Operetta and Musical Comedy. Nonetheless, in stead of aiming at exploring the characteristics concerning Operetta or Musical Comedy, the thesis intends to elaborate on the innovative viewpoints provided by Jerome Kern (1885-1945): The combination of music and the plot would be activated by an integrated texture of ideology; moreover, to actualize one’s ideology towards musicals, those preset melody, forms and rhythm of the popular ballads at that time ought to be transformed to be in harmony with the matching backgrounds and the characters of the performers in the musical. Meanwhile, the musical realistically presents the society between the late 19th century and the early 20th. Those once untouched themes regarding black slavery, mixed marriages, gambling and alcoholism keeps occurring in the plot without dissemblance so as to surpass the stereotype of the Musical Comedies. Therefore, the adjective “Musical” has been transformed into a noun, which is the term we have adopted nowadays for musical.
Based on the six main shafts of songs, and the characteristics focusing on the melody, form, rhythm and the harmony in “American Popular Ballad,” the thesis intends to discuss the techniques that Kern has utilized to compose music. The thesis is divided into five chapters. Chapter one discusses out the introduction, which mainly states the functions of music in musicals, and the environment of popular music in 1920s in America. Chapter two lays out the related backgrounds relating to brief introductions of the music composers, the development of “Show Boat,” and the production of the musical based on its original novel.
Chapter three expands on the characteristics of American popular ballads, which stand for the conventional models for the time. Chapter four aims at analyzing the six major ballads in the musical one by one to explore profoundly into the techniques that Kerns adopts to combine the plot, and to protrude the characters. By that, Kern has followed the custom and had his innovation. Chapter five concludes the whole thesis. Through such analysis, we are able to acknowledge the earlier stage of this musical in the history of music development, how the musical styles were innovated, how the younger musicians followed the trend for the revolution.
| Identifer | oai:union.ndltd.org:TW/095NTNU5248034 |
| Date | January 2007 |
| Creators | Shao-Ling Li, 李韶齡 |
| Contributors | Chun-Zen Huang, 黃均人 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 122 |
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