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Musical Dramaturgy in Late Nineteenth and Early
Twentieth-Century Theatre on the British Stage
Robert Dean
Candidate’s Surname/Family Name: Dean
Candidate’s Forenames: Robert Nicholas
Candidate for the Degree of: PhD
Full title of thesis: Musical Dramaturgy in Late Nineteenth and Early Twentieth-Century
Theatre on the British Stage
Summary:
The purpose of this study is to identify the extent music was used as a dramaturgical
component in late nineteenth and early twentieth-century theatre. In order to complete this
project paradigmatic examples and historical evidence of theatrical practice are considered
alongside film sound theory. This combination reveals similarities between the techniques,
functions and effects music provides in a dramatic context and establishes the
interdisciplinarity of the musical language used in modern film. Indeed, the apparent parallels
between music’s role in film and the way theatre music was used in a historically and
technologically separated period highlights both the lineage and overarching principles of
musical dramaturgy. In addition, this thesis provides a framework for subsequent studies
which seek to develop current understandings of dramatic expression by connecting
historical cultural artefacts with modern cultural products that bear the same semiotic
characteristics.
The results of this investigation have been organised into two main categories: non-diegetic
music (part 1) and diegetic music (part 2). Both have been divided into smaller sections
which identify and analyse particular musical techniques. Although the analysis focuses
exclusively on British theatre this geographic boundary incorporates dramatic texts written
by Ibsen and Chekhov which appeared on the British stage during the late nineteenth and
early twentieth century. Furthermore, by discussing the plays performed during this period
instead of concentrating on a single genre the following thesis identifies music’s role in both
melodramatic and naturalistic productions. The methodology adopted in this study has been
developed from the field of semiotics and as such the main analytical focus centres upon the
way in which musical material creates meaning through its relationship with other signs.
These semantic connections include elements within the production itself, established
theatrical conventions, as well as additional cultural and inter-textual associations.
DECLARATION
This work has not previously been accepted in substance for any degree and is not
being concurrently submitted in candidature for any degree.
Signed ...................................................................... (candidate)
Date ........................................................................
STATEMENT 1
This thesis is the result of my own investigations, except where otherwise stated.
Where correction services have been used, the extent and nature of the correction
is clearly marked in a footnote(s).
Other sources are acknowledged by footnotes giving explicit references.
A bibliography is appended.
Signed ..................................................................... (candidate)
Date ........................................................................
STATEMENT 2
I hereby give consent for my thesis, if accepted, to be available for photocopying
and for inter-library loan, and for the title and summary to be made available to
outside organisations.
Signed ..................................................................... (candidate)
Date ........................................................................
STATEMENT 3
I hereby give consent for my thesis, if accepted, to be deposited in the University’s
Institutional Research Repository.
Signed ..................................................................... (candidate)
Date ........................................................................
For Sam & Sampa
Musical Dramaturgy in Late Nineteenth and Early
Twentieth-Century Theatre on the British Stage
CHAPTER 1: INTRODUCTION (1-10)
CHAPTER 2: METHODOLOGY (11-32)
2. A. Introduction (11)
2. B. Dramatic Text (12)
2. C. Musical Dramaturgy (18)
2. D. Extra and Intra-Dialogic Stage Directions (20)
2. E. Theatrical Text (23)
2. F. Soundwaves (24)
2. G. Ears (24)
2. H. Deciphering (25)
2. I. Codes (26)
2. J. Meaning Potential (30)
CHAPTER 3: NON-DIEGETIC MUSIC (33-147)
3. A. Introduction (33)
3. B. Composition Design and Standard Execution (39)
3. C. Musical Camouflage and Camouflaged Music (78)
3. D. Codes and Conventions (108)
3. E. Motifs (131)
CHAPTER 4: DIEGETIC MUSIC (148 – 265)
4. A. Introduction (148)
4. B. Naturalising the Artifice (155)
4. C. Musical Physiognomy and Prosody (186)
4. D. Inter and Intra-textual meanings (209)
4. E. Dissonant Harmony and Anempathetic Underscoring (247)
CHAPTER 5: CONCLUSION (266 – 272)
BIBLIOGRAPHY (273 – 293)
FIGURES
1. System of signification (13)
2. Play texts discussed (22)
3. Categories of late nineteenth and early twentieth-century musical accompaniment
(39)
4. Examples of operatic compositions used in compilation scores (55)
5. Scenarios requiring the use of a sound bridge (78)
6. The Corsican Brothers linear timeline and chronological narrative (95)
7. Semiotic construction of a motif (137)
8. The Dancing Girl Act III stage plan (182)
9. Shave and a hair-cut, two bits (195)
10. The Dancing Girl Act I stage plan (213)
11. The Dancing Girl Act II stage plan (216)
12. Thematic links and character responses to the ‘Danse Macabre’ and sleigh bells (23637)
13. Arrah-Na-Pogue Act I wedding party stage plan (242)
14. The Three Sisters Act IV stage plan (262)