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- All Subjects: performing arts
- All Subjects: Theatre
- Creators: Dreyfoos, Dale
Description
Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the conventional and the popular--in favor of artistic autonomy and creativity--concealed a reactionary misogyny. A critical reading of Hanging Gardens through the lens of gender reveals that Schoenberg, like many of his contemporaries, incorporated strong frauenfeindlich [anti-women] elements into his work, through his modernist account of artistic creativity, his choice of texts, and his musical settings. Although elements of Hanging Gardens' atonal music suggest that Schoenberg valued gendered-feminine principles in his compositional style, a closer analysis of the work's musical language shows an intact masculinist hegemony. Through his deployment of uncanny tonal reminiscences, underlying tonal gestures, and closed forms in Hanging Gardens, Schoenberg ensures that the feminine-associated "excesses" of atonality remain under masculine control. This study draws upon the critical musicology of Susan McClary while arguing that Schoenberg's music is socially contingent, affected by the gender biases of his social and literary milieux. It addresses likely influences on Schoenberg's worldview including the philosophy of Otto Weininger, Freudian psychoanalysis, and a complex web of personal relationships. Finally, this analysis highlights the relevance of Schoenberg's world and its constructions of gender to modern performance practice, and argues that performers must consider interrelated historical, textual, and musical factors when interpreting Hanging Gardens in new contexts.
ContributorsGinger, Kerry Anne (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mook, Richard (Committee member) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
From the time it was written, the aria "Largo al factotum" from Rossini's Il barbiere di Siviglia has been performed and ornamented in many different ways. The present study is an inventory and analysis of ornaments sung in 33 recordings from 1900 to 2011 and the major differences that they exhibit one from another. The singers in this study are baritones with international careers, who have performed the role of Figaro either at the Metropolitan Opera (New York) or at La Scala (Milan). The study identifies and tracks some of the changes in the ornamentation of the aria by noting common traits and new approaches across the one hundred eleven years of practice illustrated by the recordings.
ContributorsBriggs, Andrew Nathan (Author) / Mills, Robert (Committee member) / Oldani, Robert (Committee member) / Dreyfoos, Dale (Committee member) / FitzPatrick, Carole (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
Description
A resurgence of the American art song is underway. New art song composers such as Adam Guettel, Michael John LaChiusa, and Georgia Stitt are writing engaging and challenging songs that are contributing to this resurgence of art song among college students. College and University musical theatre programs are training performers to be versatile and successful crossover artists. Cross-training in voice is training a performer to be capable of singing many different genres of music effectively and efficiently, which in turn creates a hybrid performer. Cross-training and hybridity can also be applied to musical styles. Hybrid songs that combine musical theatre elements and classical art song elements can be used as an educational tool and create awareness in musical theatre students about the American art song genre and its origins while fostering the need to learn about various styles of vocal repertoire.
American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive.
Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song.
American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive.
Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song.
ContributorsKlofach, Carrie Ann (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2018
Description
ABSTRACT
This study will have three sections: 1) outlining the imperative need to include in-depth character study in the preparation of art-song performance; 2) addressing the insufficient theatrical equipping of young collegiate singers in leading undergraduate applied voice programs and its causes, and 3) suggesting methods to advance acting training in classical voice programs. The primary goal will be to improve art song performance pedagogy and the performer’s ability to emotionally communicate with the audience. The first section will demonstrate why character study is necessary in the preparation of a sound art song performance. The musical works used in this study will be Songs of Travel (1904) by Ralph Vaughan Williams and A Young Man’s Exhortation (1929) by Gerald Finzi. These works provide examples of the cycle type in which a single character moves forward through time during the course of the song cycle. The second section will investigate the inadequate instruction received by students in undergraduate voice programs, concerning character analysis, by gathering course requirements from a variety of public and private universities. It will also examine the accrediting bodies that dictate much of the standardized curriculum across the majority of music schools in the U. S. such as the National Association of Schools of Music and the Higher Learning Commission. In the final section, a number of improvements will be suggested and examined according to their viability in training singers to convey both the musical and dramatic context found in the art song repertoire. The sources used in the course of this study include the scores (Boosey and Hawkes) of the aforementioned works, as well as published research on those works. Syllabi and curriculum checksheets from various university voice programs are also used to determine the required course requirements in contemporary applied voice degrees. The accrediting processes from bodies such as the National Association of Schools of Music and the Higher Learning Commission are used in my assessment of obstacles that those processes may inadvertently present.
This study will have three sections: 1) outlining the imperative need to include in-depth character study in the preparation of art-song performance; 2) addressing the insufficient theatrical equipping of young collegiate singers in leading undergraduate applied voice programs and its causes, and 3) suggesting methods to advance acting training in classical voice programs. The primary goal will be to improve art song performance pedagogy and the performer’s ability to emotionally communicate with the audience. The first section will demonstrate why character study is necessary in the preparation of a sound art song performance. The musical works used in this study will be Songs of Travel (1904) by Ralph Vaughan Williams and A Young Man’s Exhortation (1929) by Gerald Finzi. These works provide examples of the cycle type in which a single character moves forward through time during the course of the song cycle. The second section will investigate the inadequate instruction received by students in undergraduate voice programs, concerning character analysis, by gathering course requirements from a variety of public and private universities. It will also examine the accrediting bodies that dictate much of the standardized curriculum across the majority of music schools in the U. S. such as the National Association of Schools of Music and the Higher Learning Commission. In the final section, a number of improvements will be suggested and examined according to their viability in training singers to convey both the musical and dramatic context found in the art song repertoire. The sources used in the course of this study include the scores (Boosey and Hawkes) of the aforementioned works, as well as published research on those works. Syllabi and curriculum checksheets from various university voice programs are also used to determine the required course requirements in contemporary applied voice degrees. The accrediting processes from bodies such as the National Association of Schools of Music and the Higher Learning Commission are used in my assessment of obstacles that those processes may inadvertently present.
ContributorsCarpenter, Donald Justin (Author) / Britton, David (Thesis advisor) / Dreyfoos, Dale (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2018
Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
A student-run theatre company would give students more opportunities to perform. as well as opportunities to direct, design, and produce something that is not usually available to us. The main goal of the topic is to create a student-run theatre company that would be able to support three to four minimal, low budget productions each year that are directed, designed, and performed by the students. These productions could be works that are new or out of the mainstream, one-act operas or musicals, works written or composed by our own students, or even standard repertoire. Productions could be minimal, with the focus being on direction and performances, or fully executed with lighting, sets, and costumes designed by the students. Whatever the format, the goal is to provide students with more opportunities in music theatre and opera. There are several components to this project. The first component is forming the student organization \u2014 the theatre company. While forming a student theatre company allows for more creativity and room to try different things, we must also figure out how to operate within the limits of a campus club. The second component is producing a show. To get a taste what our club would eventually be doing, the committee is essentially' producing a show with the guidance of Lyric Opera Theatre faculty. The third component is writing the actual thesis and preparing for my defense. Because this project is not a traditional research project, the end result will be more than a thesis paper. I hope to be able to show that Basement Collaborative has developed into an organization that will be able to sustain past my time here at ASU.
ContributorsZheng, Shuwen (Author) / Reber, William (Thesis director) / Dreyfoos, Dale (Committee member) / Harper, Robert (Committee member) / Barrett, The Honors College (Contributor)
Created2015-05
Description
This thesis explores the various reasons that Broadway musicals fail, or "flop". It goes into detail on several musicals of different genres, and explains what their shortcomings were, whether it be a less-than-perfect book, a weak score, or a production team that was not experienced in the skills that it takes to put together a musical. It discusses how long the shows ran for, or if they ever made it into a Broadway house. It looks at what the audience reception was like for each show, and whether the shows were a success with the tough critics of Broadway. In addition to this, I have recorded several of my peers performing songs from the musicals I have discussed in the written portion of this thesis. This helps to educate an audience on what it would have been like for one of the flop's real performances. The videos also do a wonderful job of communicating what the show sounds like, and how it can make an audience feel or react. Lastly, it gives more insight into why the musicals they are from failed to thrive in front of a Broadway audience. Through my research, I have discovered that creating a musical is possibly one of the most difficult feats a team of creative people can accomplish. There are countless reasons for failure in these shows, but overall, I feel that every failure had something to offer, and because of that, are surely worth celebrating.
ContributorsUrias-Ramonett, Sedona Lee (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / W.P. Carey School of Business (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The notion that a singer’s voice is an expression of their personality serves as the catalyst for an examination of the relationship between the continuum of introversion and extraversion, and the pathologies of muscle tension dysphonia, vocal nodules, and performance anxiety. This paper begins with a brief introduction defining extraversion and introversion, followed by a review of personality studies identifying opera singers as primarily extraverted. Definitions of vocal nodules and muscle tension dysphonia are then given along with a list of recommended therapies. These elements tie in with two studies in speech pathology that suggest that behaviors of extraversion contribute to the development of vocal nodules, and behaviors of introversion contribute to muscle tension dysphonia and a higher laryngeal placement. Performance anxiety is shown to compound the behaviors that lead to vocal pathologies in singers. Additional therapies are recommended to address anxiety management in vocal lessons. Finally, since personality factors that contribute to vocal pathology are psychological, it is recommended that voice teachers refer their students to a psychotherapist for proper treatment.
ContributorsCurtis, Paul Josef (Author) / Norton, Kay (Thesis advisor) / Hawkins, Gordon (Thesis advisor) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2017
Description
This dissertation investigates vocal performance of art songs requiring authentic and appropriate regional dialects of the American South. Through close analysis of performance practice in American opera, musical theatre, and art song, this document follows the existence of regional southern dialects on the stage from the early 1800s to today’s practice. Evidence of specified regional southern accents is discussed regarding literary depictions in librettos, lyrics, and dialogue. Other topics include the ways regional nuances and colloquialisms differentiate southern regional accents, the existence of a generic “southern” accent to stand for any representation of rural whites, and, briefly, the nonspecific ways African American southern dialects are usually rendered. Art song selections from Kenneth Frazelle’s Appalachian Songbooks (1989) and Doug Borwick’s Southern Comfort (1989), which I studied, recorded, and transcribed into singer’s IPA (International Phonetic Alphabet), are the central texts of this discussion. The recording can be accessed online at https://soundcloud.com
ina-c-garguilo/sets/southern-study-through-song.
This research will benefit the performers of American art song that specifically requires “white” dialects, the native and non-native speakers of some Southern-American dialects, and scholars who seek to promote authentic performance practice of southern oral tradition in concert music.
ina-c-garguilo/sets/southern-study-through-song.
This research will benefit the performers of American art song that specifically requires “white” dialects, the native and non-native speakers of some Southern-American dialects, and scholars who seek to promote authentic performance practice of southern oral tradition in concert music.
ContributorsCole, Nina Michelle (Author) / Dreyfoos, Dale (Thesis advisor) / Norton, Kay (Thesis advisor) / FitzPatrick, Carole (Committee member) / Arizona State University (Publisher)
Created2017
Description
ABSTRACT
Korea’s first opera Chunhyang Jeon was composed by Jaemyeong Hyun in 1948. Until that time, most Korean vocal music was sung by a few native traditional artists. Inspired by their work, composer Hyun combined elements from the ancient Pansori (epic poetic forms presented by a solo singer with drum) and Western music techniques to create his opera. Hyun also used the more vernacular Hangeul (Korean alphabet) for his libretto rather than the Chinese usually heard in Korean theatrical presentations. It might be noted that in that same year (1948), the first Western opera: Verdi’s La Traviata was performed in Seoul.
This study concerns the bringing together of Korean traditional idioms (in Pansori) and Western musical ideas (harmony, orchestration, etc.) to create what is now known as Chunhyang-jeon Opera. In this regard, the author will present a brief split-analysis of the older style and the more modern musical attributes of the combined style of traditional Korean music and European style opera. It is hoped that this study might provide the basis for a future opera course and guide for both disciplines.
This study will also show that the Pansori and its subsequent operatic treatment has historical, social and artistic elements. Some similarities and differences of both forms were noted here with regard to cultural sensitivities.
While Chunhyang-ga (older form) and Chunhyang-jeon (Hyun’s modern adaptation) have some musical similarities, the latter was not composed based on the former. Chunhyang-ga consists mainly of compound meter (6/8, 9/8, 12/8, 24/8), which is at the heart of Korean traditional music, while Chunhyang-jeon uses simple meter (2/4, 3/4, 4/4).
Identical words are not often used in the two works, but their libretti are of much significance. Chunhyang-ga had been traditionally handed down with Chinese characters, whereas Chunhyang-jeon constituted its libretto with more modern Korean words which were easily understood by the audience.
Pansori have been sung with traditional singing techniques, which demonstrate the flow of the melodic line found in the images of the words (as interpreted and improvised by the solo performer), while in opera, vocal music is primarily from a set of melodic and harmonic techniques.
Korea’s first opera Chunhyang Jeon was composed by Jaemyeong Hyun in 1948. Until that time, most Korean vocal music was sung by a few native traditional artists. Inspired by their work, composer Hyun combined elements from the ancient Pansori (epic poetic forms presented by a solo singer with drum) and Western music techniques to create his opera. Hyun also used the more vernacular Hangeul (Korean alphabet) for his libretto rather than the Chinese usually heard in Korean theatrical presentations. It might be noted that in that same year (1948), the first Western opera: Verdi’s La Traviata was performed in Seoul.
This study concerns the bringing together of Korean traditional idioms (in Pansori) and Western musical ideas (harmony, orchestration, etc.) to create what is now known as Chunhyang-jeon Opera. In this regard, the author will present a brief split-analysis of the older style and the more modern musical attributes of the combined style of traditional Korean music and European style opera. It is hoped that this study might provide the basis for a future opera course and guide for both disciplines.
This study will also show that the Pansori and its subsequent operatic treatment has historical, social and artistic elements. Some similarities and differences of both forms were noted here with regard to cultural sensitivities.
While Chunhyang-ga (older form) and Chunhyang-jeon (Hyun’s modern adaptation) have some musical similarities, the latter was not composed based on the former. Chunhyang-ga consists mainly of compound meter (6/8, 9/8, 12/8, 24/8), which is at the heart of Korean traditional music, while Chunhyang-jeon uses simple meter (2/4, 3/4, 4/4).
Identical words are not often used in the two works, but their libretti are of much significance. Chunhyang-ga had been traditionally handed down with Chinese characters, whereas Chunhyang-jeon constituted its libretto with more modern Korean words which were easily understood by the audience.
Pansori have been sung with traditional singing techniques, which demonstrate the flow of the melodic line found in the images of the words (as interpreted and improvised by the solo performer), while in opera, vocal music is primarily from a set of melodic and harmonic techniques.
ContributorsShin, Jinhee (Author) / Britton, David (Thesis advisor) / Dreyfoos, Dale (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017