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Murder, She Sang: A Progression on Sopranos and Death.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Murder, She Sang: A Progression on Sopranos and Death./
作者:	Cresswell, Jennifer.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	70 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-02, Section: A.
Contained By:	Dissertations Abstracts International83-02A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28674445
ISBN:	9798534695991

Murder, She Sang: A Progression on Sopranos and Death.
Cresswell, Jennifer.

Murder, She Sang: A Progression on Sopranos and Death. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 70 p.

Source: Dissertations Abstracts International, Volume: 83-02, Section: A.

Thesis (D.Mus.A.)--University of Michigan, 2021.

This item must not be sold to any third party vendors.

Two recitals and an opera role were performed in lieu of a written dissertation.The following program notes and character analysis represent the summation of my creative, scholarly, and vocal accomplishments as a doctoral student at the University of Michigan. Although all projects were performed and filmed during the COVID-19 pandemic without a live audience in attendance, the levels of musicality, dramatic intention and technical expertise are representative of the skills attained throughout my degree.Performing the operatic role of Mimi in Stephen Lusmann's English adaptation of La Boheme and the two dissertation recitals, That's Chicago and The Murder Ballad, demonstrate my strong commitment to utilizing my native language of American English to tell the stories of women through sung theater. This collection of performances also balances the underrepresentation of women as both poets and composers in the operatic and classical vocal repertoire, with more than 50% of the contributing creators of text and music being women.All performances were filmed in adherence with the COVID-19 safety protocols established by each performance location. The role of Mimi and accompanying character analysis in this document explore the nuance and inevitability of Mimi's death as painted by vii Giacomo Puccini's romantic vocal lines. That's Chicago uses the music and texts of Richard Hundley, Edna St. Vincent Millay, Amy Lowell, Carl Sandburg, Andrew Gerle, Libby Larsen, Todd Hearon, and Carrie Magin to interweave the fictional stories of women in late 19th and early 20th century Chicago with that of real-life serial killer Dr. H. H. Holmes. The final piece in this trilogy, The Murder Ballad, showcases the evolution of the traditional murder ballad and the commonality of violence against women in music, beginning with mid-17th century Scotland, 19th century Appalachia, and finally, in INTERSTATE, a chamber work I commissioned and co-authored. INTERSTATE is inspired by the friendship between Aileen Wuornos (known as America's first female serial killer) and her childhood friend, Dawn Botkins, and makes use of the traditional American murder ballad, "Banks of the Ohio," as well as giving birth to several new murder ballads. The collection of all three of these performances displays an evolution of performative death for the soprano in vocal music.Recital 1: In lieu of a recital, the operatic role of Mimi in Giacomo Puccini's La Boheme was performed on August 30th, 2020 at North Hills Christian Reformed Church in Troy, Michigan. English Adaptation by Stephen Lusmann. Performed with piano; Jean Schneider, pianist. Directed by Maryanne Telese and conducted by Stephen Lusmann.Recital 2: That's Chicago, performed and recorded on November 22nd, 2020 at Rosary Cathedral in Toledo, Ohio. Kathleen Kelly, pianist.Recital 3: The Murder Ballad, performed and recorded March 21st, 2021 at the Wolfe Center for the Arts at Bowling Green State University, Bowling Green, Ohio. Kathleen Kelly, pianist.Two recitals and an opera role were performed in lieu of a written dissertation.The following program notes and character analysis represent the summation of mycreative, scholarly, and vocal accomplishments as a doctoral student at the University ofMichigan. Although all projects were performed and filmed during the COVID-19 pandemicwithout a live audience in attendance, the levels of musicality, dramatic intention and technicalexpertise are representative of the skills attained throughout my degree.Performing the operatic role of Mimi in Stephen Lusmann's English adaptation of LaBoheme and the two dissertation recitals, That's Chicago and The Murder Ballad, demonstratemy strong commitment to utilizing my native language of American English to tell the storiesof women through sung theater. This collection of performances also balances the underrepresentationof women as both poets and composers in the operatic and classical vocalrepertoire, with more than 50% of the contributing creators of text and music being women.All performances were filmed in adherence with the COVID-19 safety protocolsestablished by each performance location. The role of Mimi and accompanying characteranalysis in this document explore the nuance and inevitability of Mimi's death as painted byGiacomo Puccini's romantic vocal lines. That's Chicago uses the music and texts of RichardHundley, Edna St. Vincent Millay, Amy Lowell, Carl Sandburg, Andrew Gerle, Libby Larsen,Todd Hearon, and Carrie Magin to interweave the fictional stories of women in late 19th andearly 20th century Chicago with that of real-life serial killer Dr. H. H. Holmes. The final piecein this trilogy, The Murder Ballad, showcases the evolution of the traditional murder ballad andthe commonality of violence against women in music, beginning with mid-17th centuryScotland, 19th century Appalachia, and finally, in INTERSTATE, a chamber work Icommissioned and co-authored. INTERSTATE is inspired by the friendship between AileenWuornos (known as America's first female serial killer) and her childhood friend, DawnBotkins, and makes use of the traditional American murder ballad, "Banks of the Ohio," aswell as giving birth to several new murder ballads. The collection of all three of theseperformances displays an evolution of performative death for the soprano in vocal music.Recital 1: In lieu of a recital, the operatic role of Mimi in Giacomo Puccini's La Boheme wasperformed on August 30th, 2020 at North Hills Christian Reformed Church in Troy, Michigan.English Adaptation by Stephen Lusmann. Performed with piano; Jean Schneider, pianist.Directed by Maryanne Telese and conducted by Stephen Lusmann.Recital 2: That's Chicago, performed and recorded on November 22nd, 2020 at RosaryCathedral in Toledo, Ohio. Kathleen Kelly, pianist.Recital 3: The Murder Ballad, performed and recorded March 21st, 2021 at the Wolfe Centerfor the Arts at Bowling Green State University, Bowling Green, Ohio. Kathleen Kelly, pianist.

ISBN: 9798534695991Subjects--Topical Terms:

522973
Theater.
Subjects--Index Terms:

Murder ballads

Murder, She Sang: A Progression on Sopranos and Death.
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This collection of performances also balances the underrepresentation of women as both poets and composers in the operatic and classical vocal repertoire, with more than 50% of the contributing creators of text and music being women.All performances were filmed in adherence with the COVID-19 safety protocols established by each performance location. The role of Mimi and accompanying character analysis in this document explore the nuance and inevitability of Mimi's death as painted by vii Giacomo Puccini's romantic vocal lines. That's Chicago uses the music and texts of Richard Hundley, Edna St. Vincent Millay, Amy Lowell, Carl Sandburg, Andrew Gerle, Libby Larsen, Todd Hearon, and Carrie Magin to interweave the fictional stories of women in late 19th and early 20th century Chicago with that of real-life serial killer Dr. H. H. Holmes. The final piece in this trilogy, The Murder Ballad, showcases the evolution of the traditional murder ballad and the commonality of violence against women in music, beginning with mid-17th century Scotland, 19th century Appalachia, and finally, in INTERSTATE, a chamber work I commissioned and co-authored. INTERSTATE is inspired by the friendship between Aileen Wuornos (known as America's first female serial killer) and her childhood friend, Dawn Botkins, and makes use of the traditional American murder ballad, "Banks of the Ohio," as well as giving birth to several new murder ballads. The collection of all three of these performances displays an evolution of performative death for the soprano in vocal music.Recital 1: In lieu of a recital, the operatic role of Mimi in Giacomo Puccini's La Boheme was performed on August 30th, 2020 at North Hills Christian Reformed Church in Troy, Michigan. English Adaptation by Stephen Lusmann. Performed with piano; Jean Schneider, pianist. Directed by Maryanne Telese and conducted by Stephen Lusmann.Recital 2: That's Chicago, performed and recorded on November 22nd, 2020 at Rosary Cathedral in Toledo, Ohio. Kathleen Kelly, pianist.Recital 3: The Murder Ballad, performed and recorded March 21st, 2021 at the Wolfe Center for the Arts at Bowling Green State University, Bowling Green, Ohio. Kathleen Kelly, pianist.Two recitals and an opera role were performed in lieu of a written dissertation.The following program notes and character analysis represent the summation of mycreative, scholarly, and vocal accomplishments as a doctoral student at the University ofMichigan. Although all projects were performed and filmed during the COVID-19 pandemicwithout a live audience in attendance, the levels of musicality, dramatic intention and technicalexpertise are representative of the skills attained throughout my degree.Performing the operatic role of Mimi in Stephen Lusmann's English adaptation of LaBoheme and the two dissertation recitals, That's Chicago and The Murder Ballad, demonstratemy strong commitment to utilizing my native language of American English to tell the storiesof women through sung theater. This collection of performances also balances the underrepresentationof women as both poets and composers in the operatic and classical vocalrepertoire, with more than 50% of the contributing creators of text and music being women.All performances were filmed in adherence with the COVID-19 safety protocolsestablished by each performance location. The role of Mimi and accompanying characteranalysis in this document explore the nuance and inevitability of Mimi's death as painted byGiacomo Puccini's romantic vocal lines. That's Chicago uses the music and texts of RichardHundley, Edna St. Vincent Millay, Amy Lowell, Carl Sandburg, Andrew Gerle, Libby Larsen,Todd Hearon, and Carrie Magin to interweave the fictional stories of women in late 19th andearly 20th century Chicago with that of real-life serial killer Dr. H. H. Holmes. The final piecein this trilogy, The Murder Ballad, showcases the evolution of the traditional murder ballad andthe commonality of violence against women in music, beginning with mid-17th centuryScotland, 19th century Appalachia, and finally, in INTERSTATE, a chamber work Icommissioned and co-authored. INTERSTATE is inspired by the friendship between AileenWuornos (known as America's first female serial killer) and her childhood friend, DawnBotkins, and makes use of the traditional American murder ballad, "Banks of the Ohio," aswell as giving birth to several new murder ballads. The collection of all three of theseperformances displays an evolution of performative death for the soprano in vocal music.Recital 1: In lieu of a recital, the operatic role of Mimi in Giacomo Puccini's La Boheme wasperformed on August 30th, 2020 at North Hills Christian Reformed Church in Troy, Michigan.English Adaptation by Stephen Lusmann. Performed with piano; Jean Schneider, pianist.Directed by Maryanne Telese and conducted by Stephen Lusmann.Recital 2: That's Chicago, performed and recorded on November 22nd, 2020 at RosaryCathedral in Toledo, Ohio. Kathleen Kelly, pianist.Recital 3: The Murder Ballad, performed and recorded March 21st, 2021 at the Wolfe Centerfor the Arts at Bowling Green State University, Bowling Green, Ohio. Kathleen Kelly, pianist.
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