Use a format at the top of your work and at the end such as:
The Statement of the Problem
Oskar Schlemmer (1888-1943),best known as a visual artist and a teaching professional at the Bauhaus, is also important pioneer in the field of dance. Schlemmer was an innovative choreographer who opened up the new choreographic possibility with the concept of abstract and total dance theater. In the context of dance history he was a precursor of the American avant-garde. However, Schlemmer still has been attributed only minor importance and his choreographic concept of transformation of the human form has often been mischaracterized as "dehumanization" or "mechanization."
Reconstructions of Schlemmer's dance during last four decades and recent reviews of reconstruction on Schlemmer's dance which have been favorable suggest to examine earlier reviews of Schlemmer's dance. Thus Schlemmer's work in dance needs scholarly inquiry to clarify his contributions and significance.
This study will articulate Schlemmer's theory of dance which has been exemplified in his writings and choreography and examine the historical significance of Schlemmer's experimental choreography to selected American avant-garde dance practiced during the 1950's and 60's.
1. To describe the trends of early twentieth-century art and dance in Germany
2. To present Schlemmer's choreographic life focusing on the Bauhaus
3. To investigate Schlemmer's choreographic methods and theory of dance
4. To examine the criticism of Schlemmer's dance; dehumanization or transformation
5. To examine process of reconstructing "The Bauhaus Dances" to investigate the relationship of Schlemmer's theory and choreographic methods
6. To trace and explore the legacy of Schlemmer's work in the context of American avant-garde and post-modern dance
"Reconstructions of Schlemmer's dance during last four decades and recent reviews of reconstruction on Schlemmer's have suggested that his work as a choreographer should be re-examined in light of new understanding and knowledge. It is especially important to clarify Schlemmer's concept of transformation of human form, as there seems to be a great deal of confusion and even mis-representation as to what he meant and how this was revealed in his choreography. There is also evidence to suggest that his work may have played a role in modern dance in America during the 1950s and 60s. Thus Schlemmer's work in dance needs scholarly inquiry to clarify his contributions and significance. "
"This study will articulate Schlemmer's theory of dance as it relates to his concept of transformation of human form, exemplified in his writings and choreography and examine the historical significance of Schlemmer's experimental choreography to selected American modern dance practices during the 1950's and '60's."
1. To describe the trends of early twentieth-century art and dance in Germany and Schlemmer's choreographic activity, focusing on his work at Bauhaus
2. To investigate Schlemmer's choreographic methods and theory of dance as revealed in his published and unpublished writings.
3. To examine the critical writings concerning Schlemmer's dance works and theories as well as examine reconstructions of "The Bauhaus Dances" to investigate the relationship of Schlemmer's theory and choreographic methods
4. Using the findings of the above subproblems, describe Schlemmer's concept of the transformation of human form and its translation into movement through his choreography.
5. To trace and explore the legacy of Schlemmer's work in the context of American modern dance practice of the 1950s-60s.
Combining the first two subproblems seems obvious since the same historical method will be utilized and the information creates a total context for the study. The shift from "process" to an analysis of the "reconstructions" keeps focused on the work of Schlemmer. Looking at process draws the researcher into examining the act of recontruction rather than on the dance itself.
The third subproblem seemed a little confusing. Perthaps you were attempting to suggest a polarity of positions you expect to find. I think it would be better to leave that to the research p[rocess rather than pre-dteremine what you hope to find. I have suggested a wording which I think is closer to what you intend.
Subproblem 5 suggests that there is a legacy, and one wonders at the evidence that supports this assumption. This will need to be supported in the Need for Study and in the Literature Review. The researcher might wish to shift this to a meta-analysis of Schlemmer's work and the implications of the findings for modern choreography and choreographers.
There seems to be something implied in transformation of human form as stated in the title which doesn't become sufficiently articulated in the problem statement and subproblems. Perhaps reflection on what the researcher means by this will help deepen the problem statement. What is the basis for this description? At best, the term is provocative and the importance to the study is not clear. The "transformation of human form" might be better prepared and supported throughout the document.
PROBLEM STATEMENT
Sergey Vasilyevich Rachmaninoff, born in 1873, devoted an extensive amount of time writing for the piano. In fact, piano music spanned almost the whole of his career as a composer, beginning with the three early nocturnes, written when he was fourteen to the thoroughly revised version of his Fourth Piano Concert, published in 1941. Consequently, his piano works give an overview of his compositional output until his death in 1943. However, scholarly studies of Rachmaninoff has been exceedingly rare. In fact, it has only been since recently that dissertations of Rachmaninoff began its abundant semblance.
There lacks a thorough systematic study to identify his stylistic idiom from the basis of his compositions. This study will not only contribute to the studies on piano performance of Rachmaninoff's works based on his unique compositional style but investigations dealing with virtuoso and virtuoso performances as well. Subsequently, a critical examination of his two variations, the Chopin and the Corelli, will serve as an overview of his early and late writing styles. It will consist of his idiomatic writing style for the form of variation and a critical comparison of these two works.
The dichotomy of his personality, observed as the "six and a half foot tall scowl" as Stravinsky pegged him while his piano playing manifested amazing warmth and tenderness, was the very essence of Rachmaninoff's fiber. While his public personality displayed his austerity, only his intimate circle of friends observed the childish pranks and incautious behaviors. "Father could be social only within a circle of intimate friends, and here too, his sociability had a clearly defined limit that he never or rarely passed," wrote his daughter Iron Wolkonsky (Bertensson, p. v).
Rachmaninoff devoted an extended amount of time writing for the piano. In fact, piano music spanned almost the whole of his career as a composer, beginning with the three early nocturnes, written when he was fourteen to the thoroughly revised version of his Fourth Piano Concerto, published in 1941. In Rachmaninoff's earlier piano works while he was still a pupil of Zverev, the contents were more melodic and virtuostic. The texture was usually opaque and chordal with piano figuration in which Rachmaninoff himself excelled as a performer. However, in his later work such as the Corelli Variation composed during the summer of 1932, he fully explored the expressive and technical possibilities of the interment. He was creating his music, less of the sake of melody and trying to create new grounds of pianist. He was much freer, more imaginative in his treatment of the material. The texture were delicate, the writing economical and the rhythms were incursive, particularly in variation sixteen and in variation five with his frequently changing time signature. How does he arrive to this seasoned composer later in his life, masterfully utilizing the textural contrast and thematic inventions?
Once this is established, the researcher needs to conclude with a precise statement of the research strategy that will resolve the issues raised, giving a specific focus to to the topic.
Problem Statement
When studying a modern composer who mingles ancient traditions with contemporary compositional techniques, many interesting issues arise. The researcher will explore such a parallel in the form of Nanguan music in the works of modern composer Wen Loong-Hsing who has indicated that he uses Nanguan as one of his compositional tools. As this composer's work is a "revival" of the ancient tradition of Nanguan, how does it compare with authentic Nanguan music? How is it similar and how does it differ? Since Nanguan is relatively unknown to most westerners, the researcher feels the importance of introducing this ancient music genre to the West. In her dissertation, Nora Yeh introduces Nanguan music as: " a regional music tradition in Taiwan that originated from the Fujian province of China. Its musical elements derive from different periods of the history of China, particularly those of the Tang and Sung dynasties...In Taiwan, Nanguan falls into two categories. The first encompasses classical music for chamber ensemble. It is also known as Nanqu, Nanyin, Nanyue and by serveral other terms. The second, termed Nanqu, relates to a regional opera known as Nanguan Xi."
Aside from the study of Nanguan tradition, the researcher is also interested in the study of a contemporary composer who not only conducts in-depth research on Nanguan but also incorporates Nanguan into his compositions. Since the nature of Wen's work involves historical Nanguan components, the researcher thus need to study Nanguan music traditions and Wen's contemporary compositional techniques in order to analyze issues raised by his compositional style.
To resolve these issues, the present study aims to conduct a style analysis of Nanguan music traditions as identified in selected works of contemporary composer Wen Loong-Hsing in an effort to summarize his compositional practices and understand the manner in which he incorporate elements of Nanguan.
2.To provide a review of Wen Loong-Hsing's musical career and an overview of musical works.
3. To select and analyze three works of the composer who has indicated as important in incorporating Nanguan, with appropriate analytical adaptations and an understanding of subproblem one that will examine elements of Nanguan in Wen Loong-Hsing's works.
4. Summary, conclusions and suggestions for further study of Nanguan music and trends of Contemporary Chinese composers.
The problem statement might be strengthened as follows:
"To resolve these issues, the proposed study will conduct a style analysis of selected works of contemporary composer Wen Loong-Hsing in an effort to summarize his compositional practices and to understand the manner in which he incorporate elements of Nanguan."
The shift in focus is on the style analysis of the composer's music and then linking findings to practices in the Nanguan tradition. Your present approach makes it seem as though the major contribution of the study is Nanguan music and that the composer is incidental, even ornamental. I thought that the significance of your study is that this is an important and little known (to the West) Chinese composer who happens to acknowledge his heritage through the use of Chinese music traditions such as Nanguan. Your current wording reverses this relationship.
The subproblems also need attention. The fourth sub-problem as stated is not a sub-problem. What is described there is simply what often exists as a final chapter in a dissertation, but one should not confuse a research proposal with a dissertation outline. The outline comes later---after the research has been completed. The proposal is proposing a focus of study, a context, and a method for gathering information.
1.To describe Nanguan music tradition and its relation to Chinese aesthetics.
2.To investigate Wen Loong-Hsing's musical career and develop an overview of his musical works.
3. To analyze selected works of the composer works which have been determined as important in incorporating Nanguan musical tradition and practice.
4. To evaluate the use of combining Nanguan traditional music with the contemporary musical practices of Wen Loong-Hsing and to place his work in the context of contemporary music in Taiwan.
The delimitation is very confusing. After reading it several times, I still don't understand what is actually being delimited. Often it is useful to delay placing delimitations until you find questions raised by readers concerning the scope of your study. As it stands, the current delimitation opens an area not really mentioned in the proposal and is really quite vague. Delimitations should be anything but vague! The language should be precise and state quite clearly the parameters being delimited.