Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 363-383). / Also available by subscription via World Wide Web / viii, 383 leaves, bound ill., music 29 cm

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 363-383).

Thesis (Ph. D.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 257-269). / Also available by subscription via World Wide Web / ix, 269 leaves, bound ill., music 29 cm

Thesis (Ph. D.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 257-269).

Georges Bizet (1838-1875) is best known for his operatic masterpiece, Carmen, but his other works have received much criticism. Much of this criticism stems from the belief that his work was simply derivative of other composers, including the father of French musical exoticism, Felicien David (1810-1876). However, there has never been any formal study comparing the two composers' compositional techniques.The purpose of this study is to compare the approaches that both Bizet and David took to portray the exotic in their operatic works, and to categorize any differences or similarities between the two composers' styles. The operas chosen for this study include Bizet's Les Pecheurs de perles (1863) and Djamileh (1872), as well as David's La Perle du Bresil (1851) and Lalla-Roukh (1862). Detailed historical background and musical analysis will be provided for each opera. / School of Music