Preferred Name
Cynthia Skelley-Wohlschlager
Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License.
ORCID
https://orcid.org/0000-0001-9096-8741
Date of Graduation
5-7-2020
Document Type
Dissertation
Degree Name
Doctor of Musical Arts (DMA)
Department
School of Music
Advisor(s)
Kevin McMillan
Don Rierson
Jamison Walker
Abstract
Jake Heggie collaborated with Terrence McNally and Gene Sheer to infuse 21st-century topics into the chamber opera Three Decembers. This document traces the development of the Madeline Mitchell motif, followed by illuminating the concept of shared dramatic pacing through the use of score identifiers. Fueled by research into Heggie's compositional process, via personal interviews with the composer, it defines an effective method for character development, as well as provides suggestions for the successful preparation of a Jake Heggie opera. For this document, the concept of shared dramatic pacing refers to the time on stage during a performance that is defined by collective decisions. Shared dramatic pacing emerges through the rhythm of the text, the length of pauses, the tempi, the duration of phrases, and the fermatas. The responsibility of dramatic pacing in an opera like Three Decembers has a rather long list of participants: the composer, the playwright, the librettist, the performers (who are often influenced by teachers and coaches), the stage director, the music director/coach, the conductor, the orchestral players, and the technical crew. Section I focuses on the backgrounds of the artistic team, highlighting how they crossed paths. Section II focuses on Heggie's musical style and motifs. Section III focuses on the successful preparation of a Jake Heggie opera.
Recommended Citation
Wohlschlager, Cynthia, "Shared dramatic pacing in Jake Heggie's Three Decembers" (2020). Dissertations, 2020-current. 14.
https://commons.lib.jmu.edu/diss202029/14
