Originally presented as the author's thesis (Ph. D.)--University of California, Berkeley, 1987.

William Henry Fry (1813-1864) and George Frederick Bristow (1825-1898) were the first important composers of grand opera in the United States. They were both avid promoters of American music and American composers during a most unstable time in American history--the mid-nineteenth century just prior to the American Civil War.The present study includes in Chapter I a survey of American culture in the mid-nineteenth century, and in Chapters II and III, brief biographical sketches of W. H. Fry and G. F. Bristow. The main aim of the study has been to explore American culture during the period of approximately 1845 to 1855, and then to show that W. H. Fry's opera Leonora and G. F. Bristow's opera Rip Van Winkle are products of that culture. A general musical analysis of the two operas under consideration is given as evidence of their relationship to the Italian operatic style of the mid nineteenth century. An attempt has been made to find specific examples in both Leonora and Rip Van Winkle that canbe shown to be reflections of the musical culture of Europe with which Fry and Bristow were familiar. The main characteristics of Italian opera, such as: melodramatic plots, popular-type melodies, expressive solo voice, orchestral coloratura sections (particularly for the prima donna), and colorful folk-like songs in this work.Fry was one of the leaders of his time in asserting the thesis that Americans, if they were ever going to develop a native art, must escape their subservience to foreign influence. The irony of the situation is that Fry himself was not able to break away from the European influence in his opera Leonora, except in his use of the English language.George Frederick Bristow, whose life spanned almost the entire nineteenth and the beginnings of American culture.Bristow's opera Rip Van Winkle is written in a style one would expect from a nineteenth-century musician. He tended to write music that was basically diatonic with a spice of chromaticism. Many of the arias, and most of the choruses, are presented in a simple, straightforward style which tends to give the opera a folk-like quality, while some other arias are in an ABA structure, and fit the style of Italian operatic arias of the time. A few of Bristow's melodies are in the French style of the period--that is, they are dance-like in character--and therefore are significant reminders that he was also familiar with nineteenth century French opera.What interest there was in opera in the United States in the mid-nineteenth century was focused primarily on Italian opera, and William Henry Fry and George Frederick Bristow wrote operas in that style.

El presente trabajo se ha dividido en tres capítulos, varios acápites y un epílogo. En el primer capítulo, se esbozará un breve esquema de la justicia eclesiástica, poniéndose el énfasis en los vacíos historiográficos que han imposibilitado el avance en la profundización de este sistema judicial en específico y del sistema judicial colonial en general. En un segundo capítulo, se abordará las ‘relaciones interétnicas’ tal como han sido definidas arriba, teniendo como ejes los siguientes puntos: 1) los vínculos domésticos de la servidumbre en litigio; 2) la estructuración de una estrategia entre grupos o sujetos en complicidad; y, 3) la ‘red de apoyo’ en materia judicial que son el producto de estas vinculaciones complejas. En el tercer capítulo, se reconstruirán dos procesos muy similares pero en circunstancias temporales muy diferentes y con finales también distintos. El propósito de esta metodología es ejemplificar todo los aspectos que en los dos capítulos anteriores se trabajaron, relacionándolos con el accionar de la justicia eclesiástica y sus vinculaciones con el mundo colonial y por supuesto, con los grupos ‘subalternos’. Esto a su vez, permitirá articular una reflexión en torno a la sociedad de castas para el caso local; un diálogo que por supuesto se hará con otras realidades coloniales latinoamericanas. El resultado de esta reflexión lo contendrá el epílogo que concluirá este estudio.

Demanding Taxation, disciplining, and even at times requiring the sacrifice of life, the State is undoubtedly one of the most influential and important structures within a subject's existence. Nonetheless, despite these great demands, very few subjects actually choose or construct the State they inhabit. On the contrary subjects rather find themselves born into these great structures which transcend their existence. Consequently understanding how subjects come to learn about, and relate to, these great structures they are thrown into is vital for both an understanding of politics and the human condition generally. In this thesis I will explore an alternative approach to investigating the subject and State relationship: The ‘Subjective approach'. Inspired by the thought of Danish Philosopher Søren Kierkegaard, the aim of this approach will be to explore the encounters that the subject has with the State, what perception of the State is given to subjects in these encounters, and how the relationship between subject and State grows out of such encounters. The aim of this thesis is therefore to provide prolegomena to such an approach. I shall aim to outline why such an approach should be considered for investigating subject and State relations, and explore how one may begin articulating such an approach.

My master's degree thesis is about the premiere held at La Scala Theatre in Milan, Italy of Nabucco by Giussepe Verdi. This thesis is made up of two parts: a theoretical part and a practical part. The theoretical part introduces the life of Verdi, the background of the "birth" of the Opera Nabucco, and the historical background of the time. This section will also discuss the history of the Babylon Captivity, which is the background of Nabucco. The history of Korea and Italy when (ruled over) will also be compared. Lastly Va Pensiero sull ali doroate, the very important aria of Nabucco, is examined. This thesis includes research on three different Nabuccos performed in the last two years in many different countries. The first is a collaboration by the Opera House of Royal Covent Garden of Britain and La Scala Theatre of Milano in 2013. This opera is very abstract and modernized, and presented with minimalist staging and costume. The second was held on Vlaamse Opera in Antwerp, Belgium in 2013. This was an opera with very modern and fancy staging and costume like a musical compared to the first Nabucco. Also the opera was an adaptation of many problems of the present society. The third was a Nabucco performed in Kennedy Center by the Washington National Opera of Washington, U.S. in 2012. Beside the former two operas, it showed the quintessence of classic opera with an elaborate and magnificent scale of the stage, equipment, and costume. The three different recreations of Nabucco with historical accounts enabled me to work freely and more creatively. In the practical part, the overall concept of the recreation of Nabucco is shown. The concept describes how and when the inspirations come from, moreover the balance to the historical background tried. Compared to other works, the key concept is the contrast between two ethnic groups rather to the contrast between each character in the opera, and the traditional visual features of Jewish people used, as well as Babylon's. The main concept is the combination of historical and contemporary aspects. For example, in the case of Babylon, luxurious and decadent costumes partially inspired by the gold color of the Ishtar Gate used and in the case of Babylonian forces, the symbols that reminds one of Babylon attached to the present uniforms of military forces. Nabucco and his two daughters have significant differences. Abigaille is a woman with charisma and power, whereas Fenena is very thrifty and her mind is pure. Lastly, Zacharias and Ismael appear with typical Jewish costumes. The dramatical characteristics of opera is combined with the harmony of history and contemporary parts over the whole concepts of Nabucco. The costumes show the fundamental parts of people from each ethnic group over artistic factors.

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

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Charles Valentin Alkan (1813-1888), one of the great genii in music history, was widely misunderstood by his contemporaries because of his highly idiosyncratic ideas. From the perspective of the late twentieth century, his innovations can be better understood, and his music is now gaining wider appreciation. Yet, today many musicians still do not know even his name, much less his achievements. The year 1988 marks the one hundredth year since his death. In commemoration of this centennial anniversary, this thesis is presented as a plea for a greater awareness of the achievements of this important figure in the development of piano music.