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TWO HAMLET SCENES
by
Robert Dale Gross
__________________________________
A Musical Score Presented to the
FACULTY OF THE THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
(COMPOSITION)
August 2008
Copyright 2008 Robert Dale Gross
Object Description
| Title | Two Hamlet scenes |
| Author | Gross, Robert Dale |
| Author email | rebs_morr@yahoo.com |
| Degree | Doctor of Musical Arts |
| Document type | Dissertation |
| Degree program | Composition |
| School | Thornton School of Music |
| Date defended/completed | 2008-04-04 |
| Date submitted | 2008 |
| Restricted until | Unrestricted |
| Date published | 2008-07-14 |
| Advisor (committee chair) | Ticheli, Frank |
| Advisor (committee member) |
Hartke, Stephen Head, Brian |
| Abstract | This composition is an operatic setting of Hamlet, Act IV, Scene 5; a transitory excerpt of Act IV, Scene 6 (Gertrude announces Ophelia's demise); and Act V, Scene 1, scored for flute, oboe, clarinet, bassoon, horn, piano, two violins, viola, cello and contrabass.; So that Act V, Scene 1 may be performed with a broader vocal spectrum than possible with an all-male complement, the role of the gravedigger, traditionally male, is sung by a female soprano who also sings the role of Ophelia. This affords a re-interpretive opportunity to assert subtext and internal musical reference. Ophelia and the gravedigger are the two characters who sing diegetic music in the play itself; each character's signature arioso is related to the other by inversion.; Other compositional devices include the harmonic association of the [0, 1, 4] set with Hamlet in particular and the broader theme of madness in general; an angular melodic fragment built on this set that serves as a primary unifying device throughout; the association of the more complex [0, 1, 3, 4, 7] set (of which [0, 1, 4] is a subset) with Ophelia; the association of isorhythm with Ophelia's subterfuge; the association of counterpoint with the complexity of Hamlet's character, including a passacaglia based on the angular theme, and a three-voice canon with one voice in augmentation; and the development of a readily identifiable rhythmic motif associated with the theme of death.; Hamlet is sung by a baritone; Ophelia/Gravedigger a lyric coloratura soprano; Gertrude by a mezzo-soprano; Claudius by a bass-baritone; Laertes, Horatio and the Gentlemen by tenors |
| Keyword | hamlet; chamber; opera; composition; shakespeare |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Type | texts |
| Legacy record ID | usctheses-m1342 |
| Contributing entity | University of Southern California |
| Rights | Gross, Robert Dale |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | http://www.usc.edu/isd/libraries/services/ask_a_librarian/email/ |
| Filename | etd-Gross-20080714 |
| Archival file | uscthesesreloadpub_Volume40/etd-Gross-20080714.pdf |
Description
| Title | Page 1 |
| Contributing entity | University of Southern California |
| Full text | TWO HAMLET SCENES by Robert Dale Gross __________________________________ A Musical Score Presented to the FACULTY OF THE THORNTON SCHOOL OF MUSIC UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS (COMPOSITION) August 2008 Copyright 2008 Robert Dale Gross |
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