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MADAMA BUTTERFLY: THE MYTHOLOGY OR HOW IMPERIALISM AND THE PATRIARCHY CRUSHED BUTTERFLY'S WINGS
Title
MADAMA BUTTERFLY: THE MYTHOLOGY OR HOW IMPERIALISM AND THE PATRIARCHY CRUSHED BUTTERFLY'S WINGS.
Creator
Nieves, Adriana, Warfield, Scott, University of Central Florida
Abstract / Description
As a popular historic work with constant and worldwide performances, the sexist and racist narratives disseminated by Giacomo Puccini's opera Madama Butterfly causes harmful social and political ramifications. Many scholars point to this opera specifically when discussing the fetishization of Asian females, and mention the title character as the quintessential example of damaging stereotypes. Thus, I conduct a postcolonial and feminist reading of Madama Butterfly, through analysis of the...
Show moreAs a popular historic work with constant and worldwide performances, the sexist and racist narratives disseminated by Giacomo Puccini's opera Madama Butterfly causes harmful social and political ramifications. Many scholars point to this opera specifically when discussing the fetishization of Asian females, and mention the title character as the quintessential example of damaging stereotypes. Thus, I conduct a postcolonial and feminist reading of Madama Butterfly, through analysis of the opera's libretto, the libretto sources, and the opera's score. I unravel the Orientalist assumptions that make up the foundation of the Butterfly narrative, and trace them as they make their way into Puccini's opera. I re-read Madama Butterfly as a metaphor for imperialism, and its effects on the colonized psyche. I examine Lieutenant Pinkerton and Butterfly's characters with specific attention to the power dynamics of their relationship in the context of colonization. I emphasize gender, race, and class tensions evident within the white male and white female gazes on the bodies of third world women of color. I present Puccini's musical choices in the operatic score as supplementary to my postcolonial-feminist reading. Puccini's use of pentatonic scales to evoke "Oriental" sounds, as well as his appropriation of Japanese folk tunes and "The Star Spangled Banner" into the score serve to supplement my basic contentions that Madama Butterfly is a product of Oriental discourse and a metaphor for imperialism and its effect on the colonized psyche.
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Date Issued
2014
Identifier
CFH0004716, ucf:45400
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004716
STEVE BLACKWELL: A FLORIDA FOLK MUSICIAN
Title
STEVE BLACKWELL: A FLORIDA FOLK MUSICIAN.
Creator
Haymans, Brian, Warfield, Scott, University of Central Florida
Abstract / Description
This study investigates the life of Steve Blackwell (1947-2006), a Florida folk singer/songwriter from Punta Gorda, FL, located where the Peace River meets the Gulf of Mexico. The study examines his biographical history, his performance career, musical output, and the impact he and his music had on the surrounding community. The first part of the study documents BlackwellÂÂ's history and the major events that shaped his life while, at the same time, describing what kind...
Show moreThis study investigates the life of Steve Blackwell (1947-2006), a Florida folk singer/songwriter from Punta Gorda, FL, located where the Peace River meets the Gulf of Mexico. The study examines his biographical history, his performance career, musical output, and the impact he and his music had on the surrounding community. The first part of the study documents BlackwellÂÂ's history and the major events that shaped his life while, at the same time, describing what kind of person Steve Blackwell was. The second part of the study examines BlackwellÂÂ's career as a musical performer, the bands he played with, how those bands came to be or changed over time, what types of music they performed, and any albums he recorded. The third part of the paper looks at Blackwell as a songwriter. How Blackwell decided on his lyrical topics, his musical style, and compositional process are discussed. The final part of the study examines the impact of Blackwell and his music. Consideration is given to Steve BlackwellÂÂ's closest social networks, as well as to the social implications he, his music, and his networking had on his local community. Research for this study was done through immersion mixed with a close study of Steve Blackwell's personal documents. A number of personal interviews and correspondences were conducted with Steve BlackwellÂÂ's family, friends, former band members, and a number of other unrelated patrons. Primary sources for this study include a number of BlackwellÂÂ's own documents, such as his letters, journal entries, sketches, working copies of songs, and recording sessions, etc., which were made available with the gracious permission of the Blackwell family. Few secondary sources were found, save for a few magazine and newspaper articles. After these materials were gathered, a portrait of Steve Blackwell emerged. Evidence was found that supports the idea that Steve Blackwell's music was not stylistically unique, although competently made and enjoyed by a wide audience. Nevertheless, he was special for the community by what he was able to accomplish through his music and extroverted personality. This is not a definitive summation of Steve BlackwellÂÂ's life, but rather a starting point for any further research on Blackwell or any research in the significance of local musicians for social communities.
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Date Issued
2010
Identifier
CFE0003104, ucf:48327
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003104
THE DRESDEN SCHOOL OF VIOLONCELLO IN THE NINETEENTH CENTURY
Title
THE DRESDEN SCHOOL OF VIOLONCELLO IN THE NINETEENTH CENTURY.
Creator
Venturini, Adriana, Warfield, Scott, University of Central Florida
Abstract / Description
Until the nineteenth century, the violoncello was considered a background accompaniment instrument. By 1900 however, over eighty method books had been published for cello, and Richard Wagner and Richard Strauss were composing orchestral cello parts equal in difficulty to those of the violin, traditionally the only virtuosic string part. The emancipation from the ties of bass ostinato for the cello began with Bernhard Romberg in Dresden. The group of cellists, who came to be known as the...
Show moreUntil the nineteenth century, the violoncello was considered a background accompaniment instrument. By 1900 however, over eighty method books had been published for cello, and Richard Wagner and Richard Strauss were composing orchestral cello parts equal in difficulty to those of the violin, traditionally the only virtuosic string part. The emancipation from the ties of bass ostinato for the cello began with Bernhard Romberg in Dresden. The group of cellists, who came to be known as the Dresden School, included Kummer, Lee, Goltermann, Cossmann, Popper, Grützmacher, Davidov, and other cellists that were students and colleagues of this group. The Dresden School of cellists attempted not only to bring the instrument into prominence, but to revolutionize the technique of the instrument completely. The cello pedagogues of the Dresden School achieved this by publishing their methods and advancements in technique in cello etude and method books. This efficient process of dissemination allowed for the members of the school to improve on each other's work over time. By the second half of the nineteenth century, the cello pedagogy of the Dresden School was established through the etudes published by the cellist-composers of the Dresden School, and these etudes are still considered some of the most advanced studies for cello, and are the foundation of modern cello pedagogy. At the turn of the twentieth century the Dresden School was the leading cello school in the world, and no longer tied only to the city of Dresden, but spread throughout Europe and beyond. In the publishing of their etudes, the Dresden cellists not only passed down their information to their students, but also to future generations of cellists. Descendants of the Dresden School cellists are now performing in almost every nation and teaching the ideas born in nineteenth century Germany.
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Date Issued
2009
Identifier
CFE0002590, ucf:48267
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002590
MUSIC AND THE PRESIDENCY: HOW CAMPAIGN SONGS SOLD THE IMAGE OF PRESIDENTIAL CANDIDATES
Title
MUSIC AND THE PRESIDENCY: HOW CAMPAIGN SONGS SOLD THE IMAGE OF PRESIDENTIAL CANDIDATES.
Creator
Bogers, Gary M., Warfield, Scott, Burtzos, Alexander; Gennaro, Joe, University of Central Florida
Abstract / Description
In this thesis, I will discuss the importance of campaign songs and how they were used throughout three distinctly different U.S. presidential elections: the 1960 campaign of Senator John Fitzgerald Kennedy against Vice President Richard Milhouse Nixon, the 1984 reelection campaign of President Ronald Wilson Reagan against Vice President Walter Frederick Mondale, and the 2008 campaign of Senator Barack Hussein Obama against Senator John Sidney McCain. In doing so, there will be an analysis of...
Show moreIn this thesis, I will discuss the importance of campaign songs and how they were used throughout three distinctly different U.S. presidential elections: the 1960 campaign of Senator John Fitzgerald Kennedy against Vice President Richard Milhouse Nixon, the 1984 reelection campaign of President Ronald Wilson Reagan against Vice President Walter Frederick Mondale, and the 2008 campaign of Senator Barack Hussein Obama against Senator John Sidney McCain. In doing so, there will be an analysis of how music was used to sell the image of these presidential candidates through both its juxtaposition with other forms of mass media (television advertisements, radio, internet streaming platforms) and the content found in a song's lyrics. There will be an apparent shift in focus from candidates using original campaign songs written for the purpose of elections, toward a more prominent reliance on popular music of current and past eras. From original and politically direct works such as "I Like Ike" and "Click with Dick," to the campaign use of popular hits like Bruce Springsteen's "Born in the U.S.A." and Fleetwood Mac's "Don't Stop," I will demonstrate how presidential candidates and their teams found it beneficial to use notable music works in order to connect with a younger generation of voters. In conclusion, the reader will have gained enough understanding to realize how campaign music continues to play a role in the current political climate, demonstrating how far candidates have taken the use of music over the past sixty years.
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Date Issued
2019
Identifier
CFH2000511, ucf:45635
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000511
The Legacy of Civil Rights Protest Music: Sweet Honey in the Rock's "The Ballad of Harry T. Moore"
Title
The Legacy of Civil Rights Protest Music: Sweet Honey in the Rock's "The Ballad of Harry T. Moore".
Creator
Hyder, Thomas, Warfield, Scott, Koons, Keith, Hunt, Jeremy, University of Central Florida
Abstract / Description
This study investigates the role music played in the Civil Rights Movement as a form of political protest. The first part of the studies analyzed how political protest music was used in the early part of the twentieth-century leading up to the Civil Rights Movement of the 1960s. An analysis of the role of music in African-American culture also provides a historical background to the music-making of the Civil Rights Movement. Specific musical forms such as topical ballads, freedom songs, and...
Show moreThis study investigates the role music played in the Civil Rights Movement as a form of political protest. The first part of the studies analyzed how political protest music was used in the early part of the twentieth-century leading up to the Civil Rights Movement of the 1960s. An analysis of the role of music in African-American culture also provides a historical background to the music-making of the Civil Rights Movement. Specific musical forms such as topical ballads, freedom songs, and spirituals are examined. In addition, musical influences of African culture as well as religious influences on music-making during the Civil Rights Movement are also examined.The second section of the paper investigates the life and murder of NAACP organizer Harry T. Moore of Mims, Florida. Moore's life and death became the subject of a topical ballad, (")The Ballad of Harry T. Moore("), composed in 2001 by musical group Sweet Honey In The Rock. An analysis of the song's, literary, political, and musical connections to the ideology and music of the Civil Rights Movement, as well as subject matter, gives evidence that places the song within the tradition of the musical protest activities of the Civil Rights Movement.
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Date Issued
2012
Identifier
CFE0004550, ucf:49226
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004550
A Discussion of Robert Schumann's Compositional Process in the Song Cycle Frauenliebe und -leben
Title
A Discussion of Robert Schumann's Compositional Process in the Song Cycle Frauenliebe und -leben.
Creator
Denham, Brittany, Warfield, Scott, Koons, Keith, Potter, Thomas, University of Central Florida
Abstract / Description
Robert Schumann's compositional work during 1840 stands out as an unexpected turn of events. With relatively no background composing songs, Schumann suddenly produced a plethora of widely successful and monetarily lucrative songs all within one year. Perhaps most fascinating was the amount of detail Schumann placed into each song. This detail can be seen in the sketches which include the composer's handwritten edits in both the piano and vocal scores. With a focus on Schumann's song cycle,...
Show moreRobert Schumann's compositional work during 1840 stands out as an unexpected turn of events. With relatively no background composing songs, Schumann suddenly produced a plethora of widely successful and monetarily lucrative songs all within one year. Perhaps most fascinating was the amount of detail Schumann placed into each song. This detail can be seen in the sketches which include the composer's handwritten edits in both the piano and vocal scores. With a focus on Schumann's song cycle, Frauenliebe und -leben, the qualities of Schumann's songs and the compositional process used to create the songs' final versions are examined through this study. The origins of the poems and their author, Adelbert von Chamisso, are investigated in addition to the relationship created by Schumann between the poems and vocal lines. Main emphasis is placed on tracing the progression from the rough vocal lines found in the autograph score to the relatively finished copyist's score and finally to the final published version of the cycle.
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Date Issued
2012
Identifier
CFE0004370, ucf:49433
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004370
Stefano Landi's Arie a una voce and Early Seventeenth-century Italian Guitar Music with Alfabeto Notation
Title
Stefano Landi's Arie a una voce and Early Seventeenth-century Italian Guitar Music with Alfabeto Notation.
Creator
Galfond, Nicholas, Warfield, Scott, Koons, Keith, Brunner, David, University of Central Florida
Abstract / Description
In the first few decades of the seventeenth century countless songbooks were published in Italy, more than 300 of which included the notation system for guitar accompaniment known as alfabeto. This early repertoire for the five-course Spanish guitar was printed mostly in Naples, Rome, and Florence, and was a pivotal precursor to our modern tonal musical understanding. The very nature of both the instrument and its characteristic dance-song accompaniment style led composers to create block...
Show moreIn the first few decades of the seventeenth century countless songbooks were published in Italy, more than 300 of which included the notation system for guitar accompaniment known as alfabeto. This early repertoire for the five-course Spanish guitar was printed mostly in Naples, Rome, and Florence, and was a pivotal precursor to our modern tonal musical understanding. The very nature of both the instrument and its characteristic dance-song accompaniment style led composers to create block harmonies in diatonic progressions long before such concepts bore any semblance to a functioning theory.This paper uses the 1620 publication Arie a una voce by Roman composer Stefano Landi as a case study through which to examine the important roles that both alfabeto and the guitar played in the development of monody. The ongoing debates over the practicality, authorship, and interpretation of alfabeto notation are all addressed in reference to the six pieces marked (")per la chitara Spag.(") found near the end of Landi's first songbook. This will provide an understanding of the alfabeto notation system as well as the role of the guitar in the rise of monody, provide more specific answers concerning the viability of accompanying these specific songs on the guitar, and provide a means for constructing an informed interpretation and recording of these examples of a long-overlooked repertoire.
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Date Issued
2015
Identifier
CFE0005950, ucf:50802
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005950
The forging of modern Broadway Sound Design Techniques amid the Fires of the Rock Musicals in the Late 1960s and 1970s.
Title
The forging of modern Broadway Sound Design Techniques amid the Fires of the Rock Musicals in the Late 1960s and 1970s.
Creator
Tracey, Timothy, Warfield, Scott, Koons, Keith, Chicurel, Steven, University of Central Florida
Abstract / Description
From the ancient Greek theater, through the dawn of the Renaissance, beyond the development of Shakespearean theater, to the Broadway theater boon in the 1920s, sound reinforcement within the theater remained virtually unchanged. Through Broadway's Golden Age, directors and producers relied on architectural acoustics to carry sound throughout the theaters. This is not surprising given that most of the theaters were built in the early 1900s, before the invention of any electric sound...
Show moreFrom the ancient Greek theater, through the dawn of the Renaissance, beyond the development of Shakespearean theater, to the Broadway theater boon in the 1920s, sound reinforcement within the theater remained virtually unchanged. Through Broadway's Golden Age, directors and producers relied on architectural acoustics to carry sound throughout the theaters. This is not surprising given that most of the theaters were built in the early 1900s, before the invention of any electric sound reinforcement technology. Moreover, early attempts at amplification in the 1940s yielded dismal results. Eventually, the maturation of the integrated book musical and the invasion of the rock musical in the late 1960s demanded more than architectural acoustics alone could provide. Abe Jacob, the sound designer of Hair and Jesus Christ Superstar, led the efforts to create a modern approach to sound design. Relying on his rock-and-roll touring experience and the introduction of technological advancements within the recording industry, Jacob and others forged a modern approach to sound design specifically within the framework of the Broadway musical, which helped restore the fading industry of the Broadway musical in the late 1960s.These new approaches served well the human irony and concept musicals of the 1970s by Sondheim and other emerging composers. Sound design was critical to the successful mounting of the mega-musicals of the 1980s (Cats, Les Miserables, Starlight Express, The Phantom of the Opera, Miss Saigon, etc.). Now, modern day composers collaborate early in the creation process with sound designers and create original works with the power of modern sound design in mind, such that today, sound design is a fundamental design discipline employed in every Broadway musical(-)from the initial show concept conversations all the way through opening night.
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Date Issued
2015
Identifier
CFE0005726, ucf:50158
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005726