{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85742"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85742","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Becoming Jerome Kern: The Early Songs and Shows, 1903--1915","abstract":"My dissertation examines Kern's early work from several perspectives. I first discuss Kern's early songs within an historical context, illustrating how specific theatrical genres, the mechanics of creative collaboration, and the business of musical theater served to structure Kern's music. Next I examine his songs individually, as dramatic miniatures, looking at the structural and stylistic means Kern employs to compose dramatically effective songs. I show continuities between Kern's early and later work, both in the musical means he uses to convey drama and in his musical grammar: his preferred song structures, harmonic and melodic sequences, modulations, and cadences. Finally I examine Kern's work as a musical dramatist within the context of his first full score, The Red Petticoat (1912). Although this score has been largely forgotten, I argue that it represents an important template for the integration of music and drama that Kern would return to frequently in his later shows, particularly in his best known work, Show Boat (1927).","abstract_html":"My dissertation examines Kern's early work from several perspectives. I first discuss Kern's early songs within an historical context, illustrating how specific theatrical genres, the mechanics of creative collaboration, and the business of musical theater served to structure Kern's music. Next I examine his songs individually, as dramatic miniatures, looking at the structural and stylistic means Kern employs to compose dramatically effective songs. I show continuities between Kern's early and later work, both in the musical means he uses to convey drama and in his musical grammar: his preferred song structures, harmonic and melodic sequences, modulations, and cadences. Finally I examine Kern's work as a musical dramatist within the context of his first full score, The Red Petticoat (1912). Although this score has been largely forgotten, I argue that it represents an important template for the integration of music and drama that Kern would return to frequently in his later shows, particularly in his best known work, Show Boat (1927).","abstract_has_math":false,"creators":["Randall, James Kenneth"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Gushee, Lawrence"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2004,"date_issued":"2004","date_published":"2004","updated_at":"2026-07-22T22:26:25Z","subjects":["Biography"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3153408"],"render_values":[{"text":"(MiAaPQ)AAI3153408","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85742","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Gushee, Lawrence"]},{"key":"dc:creator","label":"Author","values":["Randall, James Kenneth"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2004","2015-09-25T22:53:17Z","10000-01-01"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Biography"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85742","(MiAaPQ)AAI3153408"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["My dissertation examines Kern's early work from several perspectives. I first discuss Kern's early songs within an historical context, illustrating how specific theatrical genres, the mechanics of creative collaboration, and the business of musical theater served to structure Kern's music. Next I examine his songs individually, as dramatic miniatures, looking at the structural and stylistic means Kern employs to compose dramatically effective songs. I show continuities between Kern's early and later work, both in the musical means he uses to convey drama and in his musical grammar: his preferred song structures, harmonic and melodic sequences, modulations, and cadences. Finally I examine Kern's work as a musical dramatist within the context of his first full score, The Red Petticoat (1912). Although this score has been largely forgotten, I argue that it represents an important template for the integration of music and drama that Kern would return to frequently in his later shows, particularly in his best known work, Show Boat (1927).","Made available in DSpace on 2015-09-25T22:53:17Z (GMT). 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I first discuss Kern's early songs within an historical context, illustrating how specific theatrical genres, the mechanics of creative collaboration, and the business of musical theater served to structure Kern's music. Next I examine his songs individually, as dramatic miniatures, looking at the structural and stylistic means Kern employs to compose dramatically effective songs. I show continuities between Kern's early and later work, both in the musical means he uses to convey drama and in his musical grammar: his preferred song structures, harmonic and melodic sequences, modulations, and cadences. Finally I examine Kern's work as a musical dramatist within the context of his first full score, The Red Petticoat (1912). Although this score has been largely forgotten, I argue that it represents an important template for the integration of music and drama that Kern would return to frequently in his later shows, particularly in his best known work, Show Boat (1927).","Made available in DSpace on 2015-09-25T22:53:17Z (GMT). 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