The purpose of this investigation is to examine Reichardt's reasons for his development of the genre Liederspiel. A brief biographical sketch of Reichardt reveals an innovative character who was responsible for several developments within the history of music. The Liederspiel was particularly affected by the French vaudeville. However, an investigation into the character of each shows that they are really quite different. A translation of an article by Reichardt from the Allgemeine Musikalische Zeitun discloses the purpose of the composer in his presentation of the Liederspiel to the public. The first Liederspiel was Liebe und Treue and was a complete success. The libretto and piano vocal score shows the construction of liebe und Treueand an English translation aids in its understanding.

The purpose of this study was to examine the justifications for and production problems of presenting elementary children in public performances.

Whereas general conceptions of Menotti's style are available in various articles, none of the previous writings on this subject have attempted to give a detailed analysis of the techniques and devices used by Menotti in his operas. As has been stated, Menottils greatest asset as a composer of opera is his genius for employing a unique fusion of music and drama. The purpose of this study, then, is to isolate the various concepts and devices of composition used by Menotti and deduce how he has used them to create dramatic impact. The work chosen for this analysis is The Medium, which established Menotti as the foremost composer-librettist of modern opera.1 4 It is felt that this opera offers a cross section of the concepts and devices used in all of the operas composed thus far by Menotti.

It is not by accident that virtually every important study of Debussy's life or works (including the recent and definitive biography by Edward Lockspeiser) has been made from a psychological viewpoint. The peculiar nature of the composer's art, resulting from his intimate ties with the French symbolist poets and his contacts with many other extra-musical influences, makes such an approach not only advantageous, but necessary. In this brief study of Pelleas et Melisande, the composer's only completed music drama, an attempt will be made to trace these many and varied influences, correlate them with the composer's musical style, and thus arrive at a deeper understanding of the nature of this remarkable work, along with its place in the history of the music drama. The actual study of the structure of the opera will give equal consideration to both the literary and the musical elements. As the unique quality of this work is grasped, the justification of such an approach will perhaps be verified.

The purpose of this study is to give some insight into the soprano role in Hgndel's operas in comparison to the other roles. From a total of forty operas written, thirty-eight have been published and will be considered in this thesis. There is a complete analysis of each soprano role, but only a few outstanding arias are discussed in detail. The study of the soprano role is preceded by a chapter on Handel's career, styles,and his operas today.

The concert arias of Mozart are probably among the least known works of this genius among composers, yet they represent no small part of his musical output and are scattered throughout every period of his life. He composed a total of fifty-seven in all, the first when he was only nine years old and the last one in the final year of his life. Mozart's fifty-seven concert arias are divided among the four voice groupings as follows: one for alto, eight for bass, ten for tenor and thirty-eight for soprano. Of these soprano arias one (K. 569)l is lost and two (K. 307 and K. 308) are merely ariettas on French texts. It is with the eighteen arias for normal male voice that this discussion will be primarily concerned; arias for the castrati voice will not be considered.

Von einer Oper in Oberschlesien kann man schon seit Mitte des 19. Jahrhunderts sprechen. Ab und zu kam es im Hoftheater zur Aufführung von Singspielen und Opern. Die Gründung einer ständigen Opernbühne fand erst in einer späteren Periode statt. Sie ist mit dem Bau eines modernen Theaters in Beuthen im Jahre 1901 verbunden. Wir wollen die wichtigsten Einzelheiten der Tätigkeit des Beuthener Theaters bis zum Jahre 1944 in Erinnerung bringen.

Die hier durchgeführte Analyse des Repertoires der Schlesischen Staatsoper dürfte es demnach ermöglichen, weitreichende Schlüsse in Bezug auf das Fungieren dieser Institution in ihrem Milieu zu ziehen.

Das Neben- und Miteinander geistlicher und weltlicher Traditionen haben das Leben der Stadt geprägt. Das hat sich auch auf die in Ratibor gepflegte Musik ausgewirkt. Die Vielfalt und der Reichtum des Kulturlebens dieser Stadt sind jedoch immer noch zu wenig bekannt.

Nach dem Kriegsende wurde die zerstörte Stadt Breslau im Laufe der Jahre mit großem Elan wieder aufgebaut. Das schwer beschädigte Stadttheater - als einzige benutzbare Spielstätte - diente dem Opernensemble, Sinfoniekonzerten sowie dem Sprechtheater. Im Juni 1945 bildete sich ein Orchester, das dem Opernensemble zur Verfügung stand und zwei Orchesterkonzerte monatlich gab.