The thesis deals with the first comlete presentation of Wagner´s opera cycle The Ring of the Nibelung in the National Theatre in Prague. It introducts the author´s life and his relation to Bohemia and Czech music. Further on it deals with the mythological theme of the Ring and philosophical reflections of its ending. The thesis culminates with analysis of each opera of the cycle presented in the National Theatre in Prague, evaluation of the production and its contribution to Czech culture.

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Orientador: Oswaldo Giacoia Junior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T02:06:35Z (GMT). No. of bitstreams: 1 BurnettJunior_HenryMartin_D.pdf: 23021991 bytes, checksum: dc3a1363d4eb661254a7790c51279beb (MD5) Previous issue date: 2004 / Resumo: A pesquisa oferece um estudo abrangente do pensamento estético de Nietzsche, a partir da defesa de uma perspectiva redentora da música dentro de sua obra. Para isso, analisa um conjunto abrangente de seus escritos, que vai desde os textos de juventude escritos antes da publicação de seu primeiro livro, O nascimento da tragédia (1872), até as obras de maturidade, como O caso Wagner (1888), incluindo neste conjunto os chamados fragmentos póstumos e a correspondência. Desde os primeiros esboços redigidos na década de 1860, o material musical foi utilizado por Nietzsche como fonte de reflexão e como aparato crítico, um trabalho de audição e reflexão que o acompanhou por toda vida. Embora o papel da música como fonte de sua crítica estética e moral tenha se modificado com o passar dos anos, podemos dizer que foi a música o fio-condutor que atravessou todos os períodos de sua produção. Neste estudo, o leitor encontrará uma análise de textos fundamentais da estética-musical de Nietzsche, indicando as tensões e continuidades de seu pensamento sobre aquela que pode ser considerada sua grande paixão intelectual: a música / Abstract: The research offers a comprehensive study of the aesthetic thought of Nietzsche, from the defense of a redemptive perspective of music into his work. To do this, analyzes a comprehensive set of his writings, ranging from youth texts written before the publication of his first book, the birth of tragedy (1872), until the works of maturity, as if Wagner (1888), including this set so-called posthumous fragments and correspondence. Since the first sketches written in the 1860, the musical material was used by Nietzsche as a source of reflection and critical apparatus, a job of listening and reflection that accompanied him throughout life. Although the role of music as a source of his aesthetic and moral criticism has been modified over the years, we can say that was the music conductor wire through all periods of its production. In this study, the reader will find an analysis of fundamental texts of musical aesthetics-Nietzsche, indicating tensions and continuities of their thinking about what can be considered his great intellectual passion: music / Doutorado / Filosofia / Doutor em Filosofia

The Richard Wagner collection in Eisenach contains the estates of several important 19th century Wagner performers. The inheritance of the Heldentenor Joseph Tichatschek provides insight into the live and influence of the tenor. Tichatschek is considered as one of the greatest German speaking tenors of his generation and performed the leading roles in the world premieres of Richard Wagner’s Rienzi und Tannhäuser. The paper provides an introduction into the extensive networks Tichatschek apparently used to promote his own career as well as the works of composers close to him, like Richard Wagner. The study focusses on Tichatschek’s connections to the German courts, newspaper editors, and artists. The daughter of the singer, Josephine Rudolph-Tichatschek – wife to the German tenor Eduard Rudolph –, appears as a so far completely unknown figure with likewise extensive networks which helped to preserve the inheritance of her father after his death.

Som lyrisk-dramatisk sopran vet jag att min väg vokalt är längre än de flesta andra röstfacks väg, eftersom rösten behöver mer mognad. Mognad att växa in i sitt röstfack och mognad för att klara av de stora rollerna som väntar. Så var börjar man när man är yngre, vilken repertoar kan låta rösten växa och ta plats men ändå bevara ungdomlighet och skönhet? Jag har upplevt från master classes och auditions som jag har varit på att efterfrågan av Mozart har varit stor. Samtidigt har jag alltid tyckt att det har varit svårt att sjunga just Mozart. Det känns inte som att rösten får ta sin riktiga plats och att det skaver på något sätt. Därför blev det tydligt för mig i början av läsåret att mitt projekt skulle handla om hur jag som lyrisk-dramatisk sopran kan hitta min röst i Mozart. Samt hur jag kan dra nytta av ett slankare vokalt tillvägagångssätt som behövs i Mozart och använda det i repertoar som jag trivs bättre i vokalt, som till exempel Wagner. Detta är ett utforskande projekt i hur man som lyrisk-dramatisk sopran kan sjunga på bästa sätt med sin röst i olika stilar, och hur de olika stilarna kan dra nytta av varandra. Hur skiljer sig Mozart från Wagner vokalt? Kanske är skillnaden inte så stor, och kanske finns en förening mellan dem två i Weber?

A rich relationship unites the composer Richard Wagner (1813-1883) and the history of psychology, especially if one considers his attempt to make music speak with the clarity of verbal language. Wagner's musical discourse participated in the development of psychology in the nineteenth century in three distinct areas. First, Wagner shared in the non-reductive materialist discourse on mind that characterized many of the thinkers who made psychology into an autonomous intellectual pursuit. Second, Wagner's theories and theatrical productions directly influenced two important psychologists - Friedrich Nietzsche (1844-1900) and Christian von Ehrenfels (1859-1932). Finally, the experiences of music achieved by Wagner at his Bayreuth festivals created greater sensitivity toward psychology, especially among the more sympathetic participants. In tracing a narrative from Wagner's first conception of a festival in 1849 to the premiere of Parsifal in 1882, one can also see several arcs in the evolution of Wagner's musical discourse. These include the shift from mnemonic to hypnotic techniques for giving music a voice, as well as the transition from a socially critical festival to one of personal affirmation. Connected to both of these augmentations of musical discourse was the volatile relationship between music and text in Wagner's compositions. Important in facilitating these transformations was not only Wagner's discovery of Schopenhauer's philosophy, but also the larger contingencies of instituting a festival in the Griinderzeit. In looking at the reception side of theatrical productions, in addition to their staging, this thesis has been able to identify psychologically-related links important to the history of music, science, and culture.

CHARLES UNIVERSITY FACULTY OF SOCIAL SCIENCES Institute of Political Studies Department of Geopolitical Studies Master's Thesis Wagner Group and Opportunism in Russian Foreign Policy: Case Studies of the Central African Republic (CAR), Libya, and Mozambique Abstract This research paper concerns Russian foreign policy and the tools it uses to accomplish its objectives. More specifically, the research is focused on the secretive private military company (PMC) Wagner Group. Wagner Group has been deployed around the globe to further the interests of Russia and is a key tool in Russia's opportunistic foreign policy. This paper seeks to answer the research question: At what point does the risk for Russia become too high to maintain the deployment of Wagner Group in a foreign country? Answering this research question will help academics and policymakers further understand the use of Wagner Group by the Russian government. Wagner Group is meant to be low risk to Russia. Previous research is sparse and often covers many deployments of Wagner Group. In contrast, this paper focuses on three case studies that allow for a more in- depth approach - Wagner Group in the Central African Republic (CAR), Libya, and Mozambique. Using qualitative analysis this paper discerned that in its use of Wagner Group, Russia will...

Conductors are oftern associated with a specific body of work in their repertoy. Gustav Mahler's conducting repertory contained some major Wagnerian works, including Tristan und Isolde. Mahler's first performance of Tristan took place during his tenure at the Stadttheater in Hamburg (1891-1897). It remained an integral part of his repertory through his tenure at the Vienna Hofoper (1897-1907), and was one of eight works he conducted at New York's Metropolitan Opera (1907-1910). This study includes a brief history of Mahler's education and a description of his conducting style characteristics. It traces the reception of Mahler's production of Tristan from Hamburg to New York, and focuses on his performances at the Hofoper and at the Metropolitan Opera. Sources used to determine performance changes he made include letters, personal reminiscences of friends and critics, and newspaper and journal reviews.

Many of Liszt’s early virtuosic works for piano are limited by a rigidified conception of thematic substance: the sonorous and harmonic impressionism in introductions and bridge passages does not disguise the finite and static treatment of themes. This problem found effective solution during the 1850s. With reference in particular to the first book of the Années de Pélérinage, it is shown how Liszt, even before Wagner, succeeded in making »his whole art [...] an art of transition« by systematic exploration of symmetrical, cyclic (octatonic, hexatonic) tonal spaces. The opening up of space within the thematic substance makes the forms of musical time themselves fluid and infinitely makes the forms of musical time themselves fluid and infinitely expandable, a potentiality exploited to the full by Wagner in Tristan und Isolde and Parsifal, and hinted at in the famously enigmatic line from the latter »Zum Raum wird hier die Zeit«. The introduction of »tonal space« as a compositional means can be logically related to an increase in the use of octatonic and hexatonic pitch collections as substitutes for diatonic tonality, a process that occurred around the turn from the 19th to the 20th century and that can be set against modernist historiographical narratives of the »dissolution of tonality« as apologia for the dodecaphonic method. Tonal space is further interpreted here as an expressive and not merely technical resource, carrying particular cultural connotations such as landscape, poetic transcendence, and magic. The importance of such meanings suggests the need to take a more interpretative and less »material« view of music history itself.

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