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 Degree Discipline: Musicology
Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet

Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet

Date: August 2002
Creator: Dunn, John T.
Description: This document's purpose is to analyze dualities found in different films of Shakespeare's Hamlet. Each version brings different ideas to it. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene's symbolism are made between the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene will be analyzed independently of each other. This work will contribute to musicology, film research, Shakespeare studies, and English scholarship.
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Jean-Georges Kastner's  Traité general d'instrumentation: A Translation and Commentary

Jean-Georges Kastner's Traité general d'instrumentation: A Translation and Commentary

Date: May 2003
Creator: Woodward, Patricia Jovanna
Description: Georges Kastner's (b Strasbourg 9 March 1810; d Paris 19 December 1867) Traite général d'instrumentation (1837), an important contribution to instrumentation study, is often overlooked because of its chronological proximity to Berlioz's Grand traité d'instrumentation (1843). Kastner's complete and concise treatise discusses the standard orchestral instruments and several obscure and ancient instruments. Intended principally for young composers, it provides the most detailed descriptions of the standard wind instruments of his day and discusses recent developments like the ophicleide and valved brass instruments. After the publication of the Traité, Kastner released a supplement including Aldophe Sax's newest innovations, entitled Cours d'instrumentation, which included musical examples of principals discussed in the Traité. Both the Traité and the Cours were accepted by the Academy and adopted by the Paris Conservatoire.
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Robert Schumann's Symphony in D Minor, Op. 120: A Critical Study of Interpretation in the Nineteenth-Century German Symphony

Robert Schumann's Symphony in D Minor, Op. 120: A Critical Study of Interpretation in the Nineteenth-Century German Symphony

Date: May 2003
Creator: Hellner, Jean Marie
Description: Robert Schumann's D-minor Symphony endured harsh criticism during the second half of the nineteenth century because of misunderstandings regarding his compositional approach to the genre of the symphony; changes in performance practices amplified the problems, leading to charges that Schumann was an inept orchestrator. Editions published by Clara Schumann and Alfred Dörffel as well as performing editions prepared by Woldemar Bargiel and Gustav Mahler reflect ideals of the late nineteenth century that differ markedly from those Schumann advanced in his 1851 autograph and in the Symphony's first publication in 1853. An examination of the manuscript sources and the editions authorized by Schumann reveals that he imbued the Symphony with what he called a "special meaning" in the form of an implied narrative. Although Schumann provided no written account of this narrative, it is revealed in orchestrational devices, particularly orchestration, dynamics, and articulation, many of which have been either altered or suppressed by later editors. A reconsideration of these devices as they are transmitted through the authorized sources permits a rediscovery of the work's special meaning and rectifies long-standing misperceptions that have become entrenched in the general literature concerning Schumann in general and the D-minor Symphony in particular.
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The Whole as a Result of Its Parts: Assembly in Aaron Copland's Score for  The Red Pony

The Whole as a Result of Its Parts: Assembly in Aaron Copland's Score for The Red Pony

Date: May 2003
Creator: McGinney, William Lawrence
Description: Aaron Copland's music for The Red Pony (1948-49), based on John Steinbeck's story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland's belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of "assembly," augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score.
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Form, Style, Function and Rhetoric in Gottlob Harrer's Sinfonias: A Case Study in the Early History of the Symphony

Form, Style, Function and Rhetoric in Gottlob Harrer's Sinfonias: A Case Study in the Early History of the Symphony

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Date: August 2003
Creator: Rober, Russell Todd
Description: Gottlob Harrer (1703-1755) composed at least twenty-seven sinfonias for his patron Count Heinrich von Bruhl in Dresden from 1731-1747, placing them among the earliest concert symphonies written. Harrer's mostly autograph sinfonia manuscripts are significant documents that provide us with a more thorough understanding of musical activities in and around Dresden. Several of the works indicate topical references, including dance, march, and hunt allusions, that comment on the Dresden social occasions for which Harrer composed these works. Harrer mixes topical references with other gestures in several of his sinfonias to create what I believe is an unrecognized affective language functioning in instrumental works of the time. An examination of the topical allusions in Harrer's works solidifies their connection to the social milieu for which he wrote them, and therefore better defines the genre of the concert sinfonia of the time. The first part of this study of Harrer's sinfonias addresses evidence about the composer, his patron, Dresden society, and the circumstances surrounding the first performances of several works, musical evidence of the composer's stylistic and formal approach to the genre, and the rhetorical meaning of topical gestures in the scores in ways not yet explored. In this dissertation, I demonstrate that ...
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Social Discourse in the Savoy Theatre's Productions of  The Nautch Girl  (1891) and  Utopia Limited (1893): Exoticism and Victorian Self-Reflection

Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection

Date: August 2003
Creator: Hicks, William L.
Description: As a consequence to Gilbert and Sullivan's famed Carpet Quarrel, two operettas with decidedly "exotic" themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society.
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Voice and Genre in Beethoven's  Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5

Voice and Genre in Beethoven's Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5

Date: May 2004
Creator: Kim, Jungsun
Description: This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.
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Asserting Identity in Wagner's Shadow: The Case of Engelbert Humperdinck's  Königskinder (1897)

Asserting Identity in Wagner's Shadow: The Case of Engelbert Humperdinck's Königskinder (1897)

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Date: August 2004
Creator: Kinnett, Forest Randolph
Description: Engelbert Humperdinck (1854-1921), who was considered a Wagnerian due to to his past work in Bayreuth and the Wagnerian traits of his Hänsel und Gretel, seems to have believed that to define himself as a composer, he had to engage somehow with that designation, whether through orthodox Wagner imitation or an assertion of his independence from Wagner's musical legacy. The latter kind of engagement can be seen in Humperdinck's Königskinder (1897), in which he developed a new kind of declamatory notation within the context of melodrama, thus fulfilling Wagnerian ideals as well as progressing beyond them. The effectiveness of Humperdinck's effort is seen in the ensuing critical reception, in which the realities of being heard as a Wagnerian composer are clarified.
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Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640

Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640

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Date: December 2004
Creator: Chung, Kyung-Young
Description: Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in ...
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Reconstructing Convention: Ensemble Forms in the Operas of Jules Massenet

Reconstructing Convention: Ensemble Forms in the Operas of Jules Massenet

Date: December 2004
Creator: Straughn, Gregory
Description: Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet's reception as a "composer for the people," a title ill fitting and ripe for reconsideration. This dissertation will examine duet forms in Massenet's oeuvre and will focus on the gradual change in style manifest in his twenty-five operas. Massenet's output can be divided into three distinct periods delineated by his approach to form. Representative works from each period will show how he inherited, interpreted, thwarted, and ultimately rewrote the standard formal conventions of his time and in doing so, created a dramaturgical approach to opera that unified the formerly separate number-based elements. Massenet's longevity and popular appeal make him the quintessential French opera composer of the fin de siècle and the natural choice for examining reconstructed conventions.
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