Works from the musical theater in modern times are much more than instrumental performance. The musical structure and how it is interpreted on the stage have been taken into consideration when the composers select their materials and methods to compose new works. Works from modern musical theater have transcended the only way of appreciation—listening, compared to classical music; they create a synthesis of visual and auditory senses which enables the audience to understand the implications of the piece.

Graffitis is a work from the musical theatre composed by French composer Georges Aperghis (b. 1945-). Though instrumental arrangements are marked throughout the work, the composer has noted that it is acceptable to replace those instruments with others. Drumsticks are not used throughout the work; therefore, the performers have to find a balance between the volume of the vocal and the instruments. The author aims to interpret the twists and turns and the dramatic effects of this work through an analysis of the composing methods and background, along with a discussion on individual emotions and features.

The thesis is divided into five chapters. In the first chapter, the author states her research methods and motivations. In the second chapter, a synopsis of the composer’s life and his composition techniques are introduced. The third chapter includes an analysis of Graffitis, which discusses the instrumental arrangement, musical notation, and overall structure of the work. The fourth chapter further interprets the work. Selection of instruments, voice language, theatric interpretation and implications are discussed in detail. The fifth chapter draws a conclusion, stating the inspirations the author has found out of the research.