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From August 2022 to May 2023, I participated in a student production of Cavalli’s La Calisto, and my part in the production was the role of Diana. This thesis investigates the specific challenges of the role, and in consequence how I resolved those challenges.  I started by interviewing four active or retired professional opera singers regarding their experience and their technique for studying a role. After this I conducted a literature search regarding Baroque opera, relevant research on practice and memorization, and already existing material mostly found in various blogs of professionals in the field of opera.  The main section of the thesis deals with the specific challenges I encountered when learning the role of Diana, and how I resolved those challenges. When relevant I have attempted to connect my solutions to the information gathered during the initial phase of the thesis work.

This study is devoted to a critical examination of the architectural structure and sculpture of the church of San Cayetano de La Valenciana in Guanajuato, Mexico, concentrating on the ornamentation of the exterior portals and the interior altar retables. This paper traces the development of the Churrigueresque phase within the Baroque period of Mexican religious architecture and analyzes specific application of this style to the church of La Valenciana. Stylistic and iconographic components are discussed and a review of significant literature on this subject is included.

The Dido myth has evolved and been adapted by many cultures over the centuries. Each Dido was altered to fit the needs of its creator, their society and customs. Despite these variations, every Dido retelling is derived from the Virgilian Dido, historical Dido, or chaste Dido narrative, or a combination of these stories. The pasticcio opera, Ópera armónica al estilo italiano que se intitula Dido y Eneas draws on the general Virgilian plot but emphasizes the chaste Dido narrative. The changes in the plot of Dido y Eneas reflect societal gender norms, theatrical conventions, and historical figures, specifically Queen María Luisa Gabriela, from eighteenth-century Spain. The Dido of Dido y Eneas can be divided into two main personas: Dido the queen and Dido the lover. Her arias, which come from preexisting Italian operas, convey the dramatic text very well. However, no matter what persona Dido portrays, she never fully loses control nor lets her passions rule her actions. Even in the moments before her suicide, her aria, "Punta intrepida," lacks the overt emotionality found in the popular Dido lament made famous by Purcell. This thesis aims to situate Dido y Eneas within the history of the Dido narrative and gender conceptions in the early eighteenth century, and to analyze depictions of affect in Dido's da capo arias. This Dido is a product of her time, transforming the Dido myth to portray a regal queen who overcomes emotional desire and remains faithful to her deceased husband becoming a paragon of chastity.

Santiago de Murcia (1673-1739) was one of the most prominent figures of the baroque guitar, both as composer and theorist. Despite his notability, his music and arrangements rarely find their way into the classical guitar repertoire. In modern guitar repertoire, it is common practice to arrange pieces from baroque composers such as Domenico Scarlatti, George Phillip Telemann, and Johann Sebastian Bach, none who wrote for guitar. My research involves doing an analysis of a historical transcription by Santiago de Murcia, and by doing so, share my insight into the possibilities, benefits, and idiosyncrasies of arranging baroque guitar works into the modern guitar. By analyzing Santiago de Murcia's Tocata de Coreli, a patchwork adaptation of Corelli's op. 5, my overarching objective is to empower modern guitarists to leverage this investigation and facilitate the creation of their own adaptations of baroque works. This documents not only the differences and similarities present in the original de Murcia manuscript print but how the study helped me develop a historically informed modern guitar transcription. Through this endeavor, I aspire to contribute to the broader discourse on the adaptation and preservation of baroque guitar repertoire within the contemporary musical landscape.

When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

Keywords: Regional history, project methods, baroque and baroque culture Abstract: The thesis deals primarily with the baroque era of Lysá nad Labem regional history and its application in the educational project at the secondary level of a primary school. The first part of the Diploma thesis contains a short overview of regional literature concerning Lysá as well as pedagogic literature suitable for project training. There is an overall characteristic of the Baroque era in the Czech lands with the focus on how it was expressed in art, religion and thinking of people back then and how it influenced the landscape formation. The emphasis is placed on the Baroque era of Lysá nad Labem. Its history is being described along with the history of the most influential family in the area the Sporcks. All of the baroque monuments in the town and its surroundings are described in order for the theoretical part to be complete and with respect to their possible application in the project training. I have also explored the significance of regional history and project training. Now turning to the practical part of the Diploma thesis. By means of a project that was executed as a part of the History instruction at the Lysá nad Labem primary school, I attempt to prove the value and suitability of such project training for...

Cette étude de la pensée de Gilles Deleuze (1925-1975) trouve son origine dans la confrontation avec un texte et un concept qui nous semblent des objets féconds de réflexion. Le pli. Leibniz et le baroque (1988) est la dernière des grandes monographies que Deleuze consacre aux « intercesseurs » de sa pensée. Elle constitue une relecture compliquée et labyrinthique à la fois de l’œuvre de Gottfried Wilhelm von Leibniz (1646-1716) et de la période baroque. Plus qu’une interprétation, elle est le théâtre où apparaît un nouveau concept destiné à jeter, comme dans un après-coup, une lumière inédite sur l’œuvre entière de Deleuze : le pli. Ce dernier, loin de représenter un escamotage interprétatif, traverse sa pensée dans toute sa durée, tout en émergeant seulement vers la fin des années 80, dans la phase finale de son itinéraire intellectuel, comme le fait une vague parcourant sous le niveau de l’eau tout l’océan pour s’élever juste en proximité du littoral. Le pli paraît dans Différence et répétition (1968) et réapparaît dans Foucault (1986) ; mais il est réellement thématisé et développé avec référence à Leibniz, le penseur qui a plus que quiconque déçu et exalté Deleuze. Notre but est de démontrer comment le pli est ce concept en mesure d’exprimer le projet philosophique deleuzien dans son intégralité. En d’autres termes, le pli est le concept de Deleuze. Dans sa formulation nous pouvons retrouver tous les problèmes majeurs de sa pensée : la relation entre différence et répétition, le statut du sujet et de l’objet, la construction du plan d’immanence, la définition de l’art, de la science et de la philosophie et leur interaction. / The subject of my thesis is the concept of “fold” in the work of Gilles Deleuze, as it emerges in the late 80’s. My purpose is to show that the concept of fold can summarise the entirety of Deleuze’s philosophical project. As a matter of fact, its formulation allows to address all of the most important questions of his thought, and to adopt a different approach on the discussion and the solution of some philosophical problems, such as the theme of the subject and Deleuze’s conception of philosophy as a “creation of concepts”. By doing that, I try to follow and underline the several implicit references and the hidden theoretical pattern which compose the text of The Fold. Leibniz and the Baroque (1988). My work is composed of five chapters. The first one has an introductive character and consists of a reflexion on Deleuze’s philosophical reading method, which we define as “anamorphic”. The second chapter focuses on the presence of Leibniz in Difference and repetition (1968) and on the relevance of his thought in the creation of Deleuzes’ philosophical terminology. The third one is titled “A thousand folds”, paraphrasing the name of another work of Deleuze and Guattari. There I try to reconstruct the several theoretical lines that compose the concept of fold; furthermore, I try to underline the philosophical multiplicity of this concept. The fourth chapter focuses on the Baroque, which plays a fundamental role in Deleuze’s argumentations. Here I retrace his ideas about infinity and folding during the Baroque era. Then, I try to confront his theory with Walter Benjamin and Jacques Lacan’s lectures of Baroque. The last chapter deals with the concept of neobaroque.

Pesquisa realizada com o propósito de levantar uma discussão sobre o caráter pedagógico da comédia e em especial da comédia barroca alemã. Através de um levantamento teórico e uma breve análise do Schimpfspiel do autor Andreas Gryphius, intitulado Absurda Comica oder Herr Peter Squenz, no qual são investigadas sua linguagem e figuras cômicas, procura-se comprovar o valor moralizante do texto, utilizando-o como exemplificação da comédia no período, a fim de evidenciar, acima de tudo, seu papel como disciplinador social. / The research was carried out to raise a discussion about the pedagogical nature of comedy and, in particular the German Baroque Comedy. A survey and a brief theoretical analysis of Andreas Gryphius Schimpfspiel, which is entitled Absurda Comica Oder Herr Peter Squenz were my starting point. Its language and its comic figures were isolated, in order to pursue the moralizing value of the text, used as an example of comedy presented in the Baroque period. The goal was to highlight above all the comedy social role as a disciplinarian.

Between 1880 and 1930, European and American modernists connected to the theater became fascinated with the subject of the baroque. Among the first, Friedrich Nietzsche argued that the baroque style recurs throughout western history, tending in every artistic medium toward the theatricality of strong emotions and exciting gestures. His writings reflect a larger trend during this period, imagining the baroque as a spectral presence of sorts, a force both haunted by theater and haunting western history repeatedly. “Traditions of the Baroque” takes up these various hauntings, pursuing two simultaneous claims. It argues that the memory of the baroque stages of seventeenth-century Europe helped produce new forms of theater, space, and experience around the turn of the twentieth century. At the same time, it also argues that modern theater has played a key role in the baroque’s development into a modern philosophical concept, both for the analysis of art, and for a self-reflexive inquiry into the nature of philosophical discourse itself. These two reciprocal developments amount to a “modernist baroque” paradigm in theory and theater alike: a pattern of having to look back to the past in order to pursue the new. Tracing this pattern, “Traditions of the Baroque” focuses on avant-gardists whose thought and writing takes place between theory and performance: philosophical theater-makers and theatrical philosophers from Nietzsche and Stéphane Mallarmé to Walter Benjamin and Gertrude Stein. Moving between the page and the stage, it tracks citations of seventeenth-century theater through modernist aesthetic theory across an array of otherwise disparate materials: Nietzsche’s writings on Wagnerian opera; Mallarmé’s hermetic and unstageable theatricals; Benjamin’s analyses of Expressionism and Epic Theater; and Stein’s saintly miracle plays. At each step, it uncovers a notion of historical unfolding based not on narrative progress, but on the citability and iterability of the past, making clear that the idea of the baroque spurred modernist thinkers to reimagine both western history and modernity altogether. Far from perpetuating age-old anti-theatrical prejudices based in transcendental metaphysics, Nietzsche, Mallarmé, Benjamin, and Stein all adopt baroque forms of theatricality precisely to subvert the ideological regimes of the past. The baroque becomes, for these authors, a means to disrupt norms of representation across a wide array of registers: aesthetic, economic, sexual, historiographic, and metaphysical. These modernists take up the baroque vision of the world as a grand theater organized around a divine center, and radically transform it to suit a modern awareness of performance’s pervasiveness in everyday life. Their modernist baroque functions not as an official style of hegemonic power— such as the absolutist state or counterreformation church—but as a deconstructive force, one that extends the baroque’s afterlife into the contemporary theater and theory of our present time.