Operatic and vocal history in Australia has received, since the 1960s, increasing attention from a body of researchers who have documented Australian performance traditions. Pedagogical traditions in Australia have been largely neglected however, and it is hoped that this thesis will contribute to ongoing studies in this area of Australian musical scholarship. Vocal pedagogy in Australia is largely derived from European models, yet many vocal teachers in Australia of the present day have little or no idea of the origins of their technique. After mapping pedagogical lineages of vocal teachers throughout Australia from 1850 to 1950, an attempt has been made to document and analyse the history of vocal pedagogy in Australia, particularly the influence of the vocal technique originating from the teaching of Manuel Garcia and his pupil Mathilde Marchesi, and other teachers trained in traditional Italian vocal technique. The thesis demonstrates that pedagogical lineages have special meaning and relevance in the historical study of vocal pedagogy and performance practice. / Although the research maintains as its primary focus, the dissemination and influence of the traditional Italian and Garcia-Marchesi technique in vocal pedagogy in Australia, considerable effort has been undertaken to allow as complex as possible an understanding of the broader vocal pedagogical climate in musical centres of Australia.

Operatic and vocal history in Australia has received, since the 1960s, increasing attention from a body of researchers who have documented Australian performance traditions. Pedagogical traditions in Australia have been largely neglected however, and it is hoped that this thesis will contribute to ongoing studies in this area of Australian musical scholarship. Vocal pedagogy in Australia is largely derived from European models, yet many vocal teachers in Australia of the present day have little or no idea of the origins of their technique. After mapping pedagogical lineages of vocal teachers throughout Australia from 1850 to 1950, an attempt has been made to document and analyse the history of vocal pedagogy in Australia, particularly the influence of the vocal technique originating from the teaching of Manuel Garcia and his pupil Mathilde Marchesi, and other teachers trained in traditional Italian vocal technique. The thesis demonstrates that pedagogical lineages have special meaning and relevance in the historical study of vocal pedagogy and performance practice. / Although the research maintains as its primary focus, the dissemination and influence of the traditional Italian and Garcia-Marchesi technique in vocal pedagogy in Australia, considerable effort has been undertaken to allow as complex as possible an understanding of the broader vocal pedagogical climate in musical centres of Australia.

<p>[inget abstract finns]</p>

<p>Opera är främst en webbläsare, men innehåller även klienter för bl.a. mail och chat. Innan den här rapporten skrevs saknades dock en klient för instant messaging-protokollet Jabber. Denna rapport beskriver arbetsgången och resultatet av utvecklandet av en Jabberklient till Opera.</p><p>Eftersom det inte fanns nog med tid att utveckla en fullfjädrad Jabberklient beslutades det att målet skulle vara ett s.k. ”proof of concept”. Kraven sattes till grundläggande instant messagingfunktionalitet, som närvarostatushantering och möjlighet att skicka och ta emot meddelanden.</p><p>Målet uppfylldes och resultatet blev en Jabberklient med grundläggande funktionalitet. I enlighet med direktiven lades relativt lite fokus på gränssnittet. Klienten har kända brister och användarvänligheten går att öka.</p><p>Resultatet skulle kunna utgöra grunden för en komplett Jabberklient. Kvar att göra är att förbättra gränssnittet för att matcha resten av Opera i användbarhet. Alla krav i Jabberspecifikationen bör också uppfyllas, speciellt eftersom företaget är stolt över att Opera följer standarder väl1. För att inte vara sämre rustad än andra Jabberklienter bör även extra funktionalitet läggas till, såsom samtalshistorik, filöverföring och möjligheten att använda andra instant messaging-protokoll via Jabberkontot.</p> / <p>Opera is first and foremost a web browser, but it also has e-mail and chat clients. Before this thesis was written however, it did not have a client for the instant messaging protocol Jabber. This thesis describes the workflow and the results of the development of a Jabber client for Opera.</p><p>Since there wasn’t enough time to develop a full-featured Jabber client, it was decided that the goal would be a proof of concept. The requirements were basic instant messaging functionality, which means the proper handling of presence information and the ability to send and receive instant messages.</p><p>The goal was achieved and the result was a Jabber client with basic functionality. In accordance with the directives, the user interface was not a primary focus. The client has known flaws and the usability is not as good as it could be.</p><p>The result could be used as the foundation of a releasable Jabber client. One of the things left to do is to improve the user interface so it matches the usability of the rest of Opera. All the requirements of the Jabber specification should also be fulfilled, especially since the company takes pride in the standards compliance of Opera2. In order to match the features of other Jabber clients, extra functionality should be added as well. Some examples would be message history, file transfer and the ability to use other instant messaging protocols through the Jabber account.</p>

<p>Inbjuden av Gustaf III, den franska teaterdekoratören, konstnären och arkitekten Louis Jean Desprez, i Sverige 1784-1804, förnyade teaterdekorationen på Operan. Genom att analysera Desprez’ teaterdekorationer med inspiration från de abstrakta konstnärerna Mondrian, Malevich och Rothko, utvecklar uppsatsen ett nytt tolkningssystem som tillsammans med traditionell tolkning innebär en djupare tolkningsmetod. Detta visar att Desprez’ teaterdekorationer var viktiga för Gustaf III:s kulturpolitik</p> / <p>Invited by king Gustaf III, the French artist stage painter Louis Jean Desprez, in Sweden 1784-1804, renewed Opera stage painting.Lillemor Erlander1Inspired by abstract artists Mondrian, Malevich and Rothko, in analyzing the stage painting of Desprez, this paper develops a new system of interpretation which together with traditional interpretation signifies a new deeper method of interpretation. This shows that the stage painting of Desprez was of importance to the cultural policy of Gustaf III.</p>

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (leaves 222-277).

Not available

Ralph Vaughan Williams (1872-1958) was one of the most prolific British composers of the twentieth century, yet his operas are virtually unknown in the standard operatic repertoire. Singers and teachers of singing are often challenged in finding operatic arias composed in the English language, because the standard operatic repertoire simply does not have as many works originally written in English as are found in Italian, German, or French. If there are arias from Vaughan Williams’ operas that are accessible to the young singing voice, they should not remain unknown. This study was executed in hopes of identifying for singers and teachers of singing, the arias, duets and scenes for male voice that can stand alone outside performances of the operas. The implications of this research project are that singers and teachers of singing have a newly found wealth of repertoire to utilize in performance as well as in the learning environment. Not only are these findings beautiful music from one of the twentieth century’s most prominent composers, but they are perhaps more importantly, accessible to the young and developing singer.

Inbjuden av Gustaf III, den franska teaterdekoratören, konstnären och arkitekten Louis Jean Desprez, i Sverige 1784-1804, förnyade teaterdekorationen på Operan. Genom att analysera Desprez’ teaterdekorationer med inspiration från de abstrakta konstnärerna Mondrian, Malevich och Rothko, utvecklar uppsatsen ett nytt tolkningssystem som tillsammans med traditionell tolkning innebär en djupare tolkningsmetod. Detta visar att Desprez’ teaterdekorationer var viktiga för Gustaf III:s kulturpolitik / Invited by king Gustaf III, the French artist stage painter Louis Jean Desprez, in Sweden 1784-1804, renewed Opera stage painting.Lillemor Erlander1Inspired by abstract artists Mondrian, Malevich and Rothko, in analyzing the stage painting of Desprez, this paper develops a new system of interpretation which together with traditional interpretation signifies a new deeper method of interpretation. This shows that the stage painting of Desprez was of importance to the cultural policy of Gustaf III.

Bakgrund: Eftersom att operakonsten är präglad av en viss grupp människor kommer denna uppsats att grunda sig på analys kring hur Sveriges operahus marknadsförs samt vilka kundgrupper de lyckas nå ut till.            Syfte: Syftet med studien är att analysera och kartlägga operakonst. Genom Pierre Bourdieus centrala teorier om de olika kapitalen ska vi förklara varför konsumentföreteelser är kopplade till vissa etablerade grupper. Metod: Studien innefattar både kvalitativ och kvantitativ undersökning. Den kvalitativa undersökningen består av sju intervjuer och den kvantitativa undersökningen består av en enkätundersökning som består av 100 respondenter. För att kunna besvara syftet och våra frågeställningar kommer befintliga teorier att användas. Teorier: Pierre Bourdieus centrala begrepp, GAP-modellen och POP- &amp; POD. Slutsats: Operahusen når inte ut till ett bredare markndassegment då vanföreställningar existerar om att operakonsten är urgammal samt för främmande. Detta avskräcker potentiella konsumenter att besöka operan. Dessutom krävs det mer pengar till marknadsföring för att nå de potentiella kunderna.