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The Experience of Students As Part of a Secondary School Musical
THE EXPERIENCE OF STUDENTS AS PART OF A SECONDARY SCHOOL MUSICAL THEATRE COURSE by William Warren Cook Stokes A thesis submitted to the Faculty of Education In conformity with the requirements for the degree of Master of Education Queen’s University Kingston, Ontario, Canada September, 2010 Copyright © William Warren Cook Stokes, 2010 Abstract This thesis captures the nature of musical theatre in secondary schools in order to understand more completely the intrinsic benefits of the activity. The research surrounds the essence of students’ experience as part of a secondary school musical theatre course, and how students come to understand the meaning of their experience over time. The research design uses a hermeneutic phenomenological lens to capture the lived experience of six former musical theatre students using in-depth, semi-structured interviews. The data is organized in a narrative-like style and analyzed according to the emergent themes, the literature, and this researcher’s personal experience. The data suggest musical theatre is a journey of self-discovery where process is paramount. The alumni describe the impact of teacher quality on the musical theatre process, the family inherent in the musical theatre cast, the allure of performance and notoriety, and the frustrations toward other students’ apathy. Recent graduates note increased confidence and improved public speaking abilities, but older graduates see musical theatre as something life changing. The intensity of experience, therefore, seems to depend on the number of years students have to reflect on the impact of their experience. Holding these experiences in such esteem, in this study however, decreases the probability of participation in future musical theatre opportunities for fear of their inadequacy. -
The Global Irish and Chinese: Migration, Exclusion, and Foreign Relations Among Empires, 1784-1904
THE GLOBAL IRISH AND CHINESE: MIGRATION, EXCLUSION, AND FOREIGN RELATIONS AMONG EMPIRES, 1784-1904 A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History By Barry Patrick McCarron, M.A. Washington, DC April 6, 2016 Copyright 2016 by Barry Patrick McCarron All Rights Reserved ii THE GLOBAL IRISH AND CHINESE: MIGRATION, EXCLUSION, AND FOREIGN RELATIONS AMONG EMPIRES, 1784-1904 Barry Patrick McCarron, M.A. Thesis Advisor: Carol A. Benedict, Ph.D. ABSTRACT This dissertation is the first study to examine the Irish and Chinese interethnic and interracial dynamic in the United States and the British Empire in Australia and Canada during the nineteenth and early twentieth centuries. Utilizing comparative and transnational perspectives and drawing on multinational and multilingual archival research including Chinese language sources, “The Global Irish and Chinese” argues that Irish immigrants were at the forefront of anti-Chinese movements in Australia, Canada, and the United States during the second half of the nineteenth century. Their rhetoric and actions gave rise to Chinese immigration restriction legislation and caused major friction in the Qing Empire’s foreign relations with the United States and the British Empire. Moreover, Irish immigrants east and west of the Rocky Mountains and on both sides of the Canada-United States border were central to the formation of a transnational white working-class alliance aimed at restricting the flow of Chinese labor into North America. Looking at the intersections of race, class, ethnicity, and gender, this project reveals a complicated history of relations between the Irish and Chinese in Australia, Canada, and the United States, which began in earnest with the mid-nineteenth century gold rushes in California, New South Wales, Victoria, and British Columbia. -
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Racializing the Ancient World: Ancestry and Identity in the Early United States by Lyra D. Monteiro B.A., Anthropology and Classical Civilization, New York University, 2004 M.A., Classical Art and Archaeology, University of Michigan, 2006 M.A., Classical Studies-Latin, University of Michigan, 2006 M.A., Public Humanities, Brown University, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Joukowsky Institute for Archaeology and the Ancient World Brown University May 2012 Text copyright © 2012 by Lyra D. Monteiro All images are copyright their respective creators This dissertation by Lyra D. Monteiro is accepted in its present form by the Joukowsky Institute for Archaeology and the Ancient World as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_____________ _________________________________ Susan E. Alcock, Advisor Date_____________ _________________________________ Seth Rockman, Advisor Recommended to the Graduate Council Date_____________ _________________________________ Corey D. B. Walker, Reader Date_____________ _________________________________ Ömür Harmanşah, Reader Approved by the Graduate Council Date_____________ _________________________________ Peter M. Weber, Dean of the Graduate School iii VITA Lyra Diana Monteiro was born in Port Townsend, Washington, on December 29, 1981. She studied Anthropology and Classical Civilizations at New York University, was elected to Phi Beta Kappa in 2003, and graduated summa cum laude in 2004. Between 2004-2006, she studied at the University of Michigan, Ann Arbor, and earned Masters degrees in Classical Art and Archaeology, and in Classical Studies-Latin. At Brown University, she earned a Masters degree in Public Humanities in 2009. Her doctoral studies were supported by the Mellon Fellowship for Humanistic Studies, the Rackham Merit Fellowship from the University of Michigan, the Joukowsky Presidential Fellowship from Brown University, a Graduate Teaching Fellowship from Brown University, the J.M. -
Broadway Theatre
Broadway theatre This article is about the type of theatre called “Broad- The Broadway Theater District is a popular tourist at- way”. For the street for which it is named, see Broadway traction in New York City. According to The Broadway (Manhattan). League, Broadway shows sold a record US$1.36 billion For the individual theatre of this name, see Broadway worth of tickets in 2014, an increase of 14% over the pre- Theatre (53rd Street). vious year. Attendance in 2014 stood at 13.13 million, a 13% increase over 2013.[2] Coordinates: 40°45′21″N 73°59′11″W / 40.75583°N The great majority of Broadway shows are musicals. His- 73.98639°W torian Martin Shefter argues, "'Broadway musicals,' cul- minating in the productions of Richard Rodgers and Os- car Hammerstein, became enormously influential forms of American popular culture” and helped make New York City the cultural capital of the nation.[3] 1 History 1.1 Early theatre in New York Interior of the Park Theatre, built in 1798 New York did not have a significant theatre presence un- til about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 peo- ple. They presented Shakespeare plays and ballad op- eras such as The Beggar’s Opera.[4] In 1752, William The Lion King at the New Amsterdam Theatre in 2003, in the Hallam sent a company of twelve actors from Britain background is Madame Tussauds New York to the colonies with his brother Lewis as their manager. -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Choreographing Race: An Analysis of Black Performance and White Audience A Dissertation Presented by Katrina Dyonne Thompson to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In History Stony Brook University December 2007 Copyright by Katrina Dyonne Thompson 2007 Stony Brook University The Graduate School Katrina Dyonne Thompson We, the dissertation committee for the above candidate for the Doctorate of Philosophy degree, hereby recommend acceptance of this dissertation. Dr. Floris Cash-Dissertation Advisor Chair, Africana Studies Department Dr. Wilbur Miller-Chairperson of Defense Professor, History Department Dr. Nancy Tomes Chair, History Department Dr. Richard Pierce Chair, Africana Studies, University of Notre Dame This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Choreographing Race: An Analysis of Black Performance and White Audience by Katrina Dyonne Thompson Doctor of Philosophy In History Stony Brook University 2007 The dissertation, “Choreographing Race: An Analysis of Black Performance and White Audience” analyzes the pressure placed on blacks to sing and dance for whites and how this racial imagery contributed to the subjugation of black culture, while simultaneously reinforcing whiteness. Through an examination of slave narratives, travel journals, popular literature and theater, this dissertation investigate a wide variety of performance scenes and their staging of race. The study examines the influence whites had on black cultural development and the public image of blackness through the coercion of music and dance. -
© 2013 Sean Patrick Boyle ALL RIGHTS RESERVED
© 2013 Sean Patrick Boyle ALL RIGHTS RESERVED LOW LIFE & HIGH JINKS: RACE, ETHNICITY, AND POLITICS IN EDWARD HARRIGAN’S MULLIGAN GUARD PLAYS, 1879-1883 by SEAN PATRICK BOYLE A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in History written under the direction of Beryl Satter and approved by ________________________ ________________________ ________________________ ________________________ Newark, New Jersey May, 2013 ABSTRACT OF THE DISSERTATION LOW LIFE & HIGH JINKS: RACE, ETHNICITY, AND POLITICS IN EDWARD HARRIGAN’S MULLIGAN GUARD PLAYS, 1879-1883 By SEAN PATRICK BOYLE Dissertation Director: Beryl Satter To understand the nuances, contradictions, and levels of agency in immigrant and African-American working class communities, this thesis examines the musical theater of Edward Harrigan, an American playwright whose plays were novel for their sympathetic portrayals of working-class Irish immigrants. I analyze three of Harrigan’s popular plays in his Mulligan Guard series, the Mulligan Guard Ball, the Mulligan Guard Nominee, and Cordelia’s Aspirations. Due to Harrigan’s emphasis on realism, the plays offer insight into the complex racial and ethnic negotiations and political machinations of the working class in Gilded Age New York. I contend that they illustrate contestations over shared urban space between the Irish, Germans, and African Americans, where they engage in dialectic relationships that swayed from friendship to animosity, from collaboration to rivalry. The plays also illuminate working-class perspectives of Tammany’s political machine. Juxtaposed against middle-brow representations of the machine in political cartoons by Thomas Nast and Joseph Keppler, Harrigan’s works show the machine as an important avenue of social mobility rather than as a threat to American republicanism. -
Blue Notes from Three Songs: Malleable Artifacts As Related to Evolving Cultural Identity Lou Lucas Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2010 Blue Notes from Three Songs: Malleable Artifacts as Related to Evolving Cultural Identity Lou Lucas Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Lucas, Lou, "Blue Notes from Three Songs: Malleable Artifacts as Related to Evolving Cultural Identity" (2010). All Theses and Dissertations (ETDs). 521. https://openscholarship.wustl.edu/etd/521 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY University College American Culture Studies BLUE NOTES FROM THREE SONGS MALLEABLE ARTIFACTS AS RELATED TO EVOLVING CULTURAL IDENTITY by Lou Matthews Lucas A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 2010 Saint Louis, Missouri © Copyright by Lou Matthews Lucas 2010 Table of Contents List of Illustrations iii Introduction 1 Lyrics, “My Old Kentucky Home” 3 Lyrics, “Carry Me Back to Old Virginny” 4 Lyrics, “The Missouri Waltz” 5 Part I. - Commonalities and Influences 6 Part II. - Observations and Conclusions 38 Bibliography 79 ii Illustrations Stephen Collins Foster 24 Image courtesy of the Foster Hall Collection, Center for American Music, University of Pittsburgh Library System James A. Bland, sheet music image 29 Original 1879 sheet music cover. -
Muldoon, the Solid
The Life and Times of “Muldoon, the Solid Man” by Don Meade Go with me and I'll treat you dacent I'll set you down and I'll fill the can As I walk the street, each friend I meet Says: “There goes Muldoon. He's a solid man”1 “Muldoon, the Solid Man,” a comic song first performed in 1874, has proved to be one of the most enduringly popular compositions of the New York Irish playwright, director, actor, lyricist and singer Edward Harrigan. The multi-talented Harrigan, most famous as half of the theatrical team of Harrigan and Hart, is a towering figure in the history of the American stage and one of the founding fathers of modern musical comedy. Harrigan was an amazingly prolific writer who cranked out scores of successful plays and sketches, as well as the lyrics for over 300 songs. Many of those songs were at least as popular in their day as “Muldoon, the Solid Man.” Yet this comic ditty about a boastful New York Irish politician has outlived most of the rest of Harrigan’s works and is still being performed and recorded today.2 Tracing the story of “Muldoon, the Solid Man” and its survival to the present day illuminates many aspects of the history of the Irish in New York. The explanation for the song's surprising longevity also throws light on the important links between the 19th-century American variety stage and the Irish folk song tradition. Harrigan and Hart If the name Harrigan rings a bell today, it is usually because of George M. -
Louis Moreau Gottschalk, John Sullivan Dwight, and the Development of Musical Culture in the United States, 1853-1865 Laura Moore Pruett
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Louis Moreau Gottschalk, John Sullivan Dwight, and the Development of Musical Culture in the United States, 1853-1865 Laura Moore Pruett Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOUIS MOREAU GOTTSCHALK, JOHN SULLIVAN DWIGHT, AND THE DEVELOPMENT OF MUSICAL CULTURE IN THE UNITED STATES, 1853-1865 by LAURA MOORE PRUETT A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2007 Copyright © 2007 Laura Moore Pruett All Rights Reserved The members of the Committee approve the dissertation of Laura Moore Pruett defended on 26 October 2007. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Matthew Shaftel Outside Committee Member ______________________________ Douglass Seaton Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS This work would never have been fully realized without the help and support of many individuals. My gratitude goes to the Presser Foundation, who awarded me a grant to conduct research in New Orleans, Massachusetts, New York, and Washington, D.C., in summer 2004. The research staff in the following libraries and archives were central to locating primary source materials: the Historic New Orleans Collection, the American Antiquarian Society in Worcester, MA, the Boston Public Library, the Harvard University Archives, the Harvard Musical Association Library, the New York Public Library for Performing Arts, the New-York Historical Society, and the Library of Congress. -
The Influence of Minstrelsy on Harriet Beecher Stowe's Uncle Tom's Cabin
FROM BLACKFACE TO BESTSELLER AND BACK AGAIN: THE INFLUENCE OF MINSTRILSY ON HARRIET BEECHER STOWE’S UNCLE TOM’S CABIN A Thesis by EPHRAIM DAVID FREED Submitted to the Graduate School at Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Department of English FROM BLACKFACE TO BESTSELLER AND BACK AGAIN: THE INFLUENCE OF MINSTRELSY ON HARRIET BEECHER STOWE'S UNCLE TOM'S CABIN A Thesis by EPHRAIM DAVID FREED MAY 2014 APPROVED BY: __________________________________________ Grace McEntee Chairperson, Thesis Committee __________________________________________ Lynn Searfoss Member, Thesis Committee __________________________________________ Bruce Dick Member, Thesis Committee __________________________________________ Carl Eby Chairperson, Department of English __________________________________________ Edelma D. Huntley, Ph.D. Dean, Cratis Williams Graduate School Copyright by Ephraim David Freed 2014 All Rights Reserved Abstract FROM BLACKFACE TO BESTSELLER AND BACK AGAIN: THE INFLUENCE OF MINSTRELSY ON HARRIET BEECHER STOWE'S UNCLE TOM'S CABIN Ephraim David Freed B.A., Western Carolina University M.A., Appalachian State University Chairperson: Grace McEntee Almost immediately after its 1852 publication, Harriet Beecher Stowe’s Uncle Tom’s Cabin became a popular culture phenomenon. Throughout America and Europe, readers took to the novel more enthusiastically than to any previous abolitionist text. Yet, despite being the best-selling novel of the nineteenth century, interest in Uncle Tom’s Cabin fell sharply after the Civil War, its antislavery message no longer relevant. A century after its initial release, Stowe’s most famous work had become a subject of minor study to literary critics, seen as more valuable for its historical value than any literary merit, and Civil Rights activists further degraded the novel’s reputation by accusing it of creating and perpetuating African American stereotypes. -
The Evolution of Broadway Musical Entertainment, 1850-2009: Interlingual and Intermedial Interference
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-6-2013 The volutE ion of Broadway Musical Entertainment, 1850-2009: Interlingual and Intermedial Interference DJ Kaiser Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Comparative Literature Commons Recommended Citation Kaiser, DJ, "The vE olution of Broadway Musical Entertainment, 1850-2009: Interlingual and Intermedial Interference" (2013). All Theses and Dissertations (ETDs). 1076. https://openscholarship.wustl.edu/etd/1076 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Program in Comparative Literature Dissertation Examination Committee: Robert Hegel, Chair Todd Decker Robert Henke Ignacio Infante Lara Teeter Julia Walker Gerhild Williams The Evolution of Broadway Musical Entertainment, 1850-2009: Interlingual and Intermedial Interference by DJ Kaiser A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri ii © Copyright 2013 by DJ Kaiser. All rights reserved. iii TABLE OF CONTENTS List of Figures……………………………………………………………………………………. iii List of Tables……………………………………………………………………………………. vii Acknowledgements……………………………………………………………………………...viii Abstract………………………………………………………………………………………….... x Chapter 1: Introduction…………………………………………………………………………… 1 Chapter 2: The Methods, Problems, and Possibilities of Cataloguing Musical Entertainment…. 43 Chapter 3: Interlingual Interference during the Operetta Century: 1850-1949…………………. 91 Chapter 4: Intermedial Interference in Broadway Musical Entertainment……………………. -
The Early Tramp Comic on the Variety Stage
44 Michelle Granshaw University of Pittsburgh, USA Inventing the Tramp: The Early Tramp Comic on the Variety Stage This article examines the ‘tramp’ on the variety stage at the moment of its cultural invention. Immediately after the Panic of 1873, variety actors performed the comic tramp in both blackface and whiteface. However, as the decade continued, the comic tramp in variety transformed into primarily a whiteface, typically Irish-American, figure. Considering the comic tramp as one enduring “dramaturgy of mobility,” the author suggests that this transformation was less a whitening of the comic tramp and more an erasure of black mobility. The Irish-American tramp may have reflected many of the negative characteristics of the tramp, including his wandering nature, his unemployment, and his drinking, but he also showed that the Irish-American comic tramp, unlike the earlier black counterpart, could be part of a community and in some instances, even a hero. Michelle Granshaw is an Assistant Professor of Theatre Arts at the University of Pittsburgh. Her research interests include American and Irish theatre and popular entertainment, diaspora and global performance histories, performance and the working class, and historiography. Her articles have appeared in Theatre Survey, Nineteenth Century Theatre and Film, Journal of American Drama and Theatre, Theatre Topics, and the New England Theatre Journal. Keywords: comic tramp, mobility, racial and ethnic comedy, stage Irish, blackface, variety theatre riggered by the Panic of 1873, the economic depression of the 1870s T instigated the movement of millions of unemployed workers on a previously unseen scale in the United States.1 Until the 1870s, “tramp” existed primarily as a verb in the American lexicon and referred to a long walk or march.