Matador is an opera scored for orchestra, mixed chorus and soloists (mezzosoprano, 3 tenors, 2 baritones). The work is in one act divided into two main sections. Each of these sections is divided into subsections. The libretto is aphoristic in nature and dictates the form of each of these subsections. The division into two parts also serves as a means to evoke a sense of hopelessness of emotions in the first and a transforming disposition that culminates in a jubilant song in the second.

Title from accompanying document. / Digitized by Kansas Correctional Industries

This dissertation explores the ways in which Handel’s late operas intersect with other forms of theater in mid-eighteenth-century London. It seeks to explain how certain comic features of these late works—from the lighter subject matter of the libretti to Handel’s unconventional musical settings—can be seen to echo the heated criticism leveled at Italian opera seria during this period, criticism usually voiced by satirical pamphlets and operatic parodies. It concludes that so-called "serious opera" was not always taken too seriously by London audiences, or even by Handel himself. Instead, opera reception in eighteenth-century London was much more complex, sometimes even contradictory: avid operagoers were often generous patrons of operatic burlesque, and considered ridicule, disruption, and laughter an integral part of their operagoing experience. By tracing the points of contact between Italian opera and British theatrical life, this dissertation examines the ways in which the "comedies" of opera seria, both as historical phenomena and as potentially fruitful sites for theoretical investigation, offer a new picture of the eighteenth-century dramma per musica.

粤劇亦被譽為「南國紅豆」已有三百多年歷史是中國傳統戲曲之一。粤劇流傳於南中國,香港,以及海外華人的社會,其中以廣州佛山一帶最為著名。然而在近年外來文化的影響下,粤劇逐漸被忽視。自二零零九年起,粤劇正式被列為聯合國教科文組織人類非物質文化遺產。隨著國家政府對粤劇的重視,地方傳統曲藝在廣州的發展亦產生了變化。本論文以廣州粤劇的音樂社區為中心,著眼於樂師,把樂師分為業餘者,職業樂師及國家級演奏員三類。本論文亦論述粤劇樂師在粤劇國家化的過程中所面對的改變及所扮演的角色,並探討粤劇由一種地方性的民間傳統藝術演變為一項代表國家的非物質文化遺產對當地音樂社區造成的衝擊。 / Since Cantonese Opera was declared an intangible cultural heritage representation by United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2009, the Chinese government has carried out different policies to “develop Cantonese Opera. This study looks at the recent “development“ of Cantonese Opera in Guangzhou from the perspective of musicians. In Guangzhou, different forms of performing groups are present, from privately organized interest groups to state-managed national troupes. This study divides the music community in Guangzhou into three sub-communities: amateurs, professionals and national musicians and investigates the changing lifestyle and way of interaction of musicians within the music community due to the changes that have occurred in Guangzhou with the listing of Cantonese Opera as an intangible cultural heritage. / This research focuses on the musicians in the Cantonese Opera music community in Guangzhou. Based on a three-month intensive fieldwork and two pilot studies conducted in 2011 using participant observation and indepth interview, this thesis aims to explore the following questions: in what ways are the musicians’ social life and mode of living altered? Has the whole music community become more strengthened and united owing to the social changes? Or is the music community becoming more stratified? Is the music community harmonious or full of dissonance? / Detailed summary in vernacular field only. / Cheung, Ah Li. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 127-133). / Abstracts also in Chinese. / Abstract --- p.i / 摘要 --- p.ii / Acknowledgements --- p.iii / Table of Contents --- p.v / List of Figures and Tables --- p.vii / Chapter Chapter One --- : Introduction --- p.1 / Introduction --- p.1 / Contribution --- p.4 / Defining Music Community --- p.6 / Literature Review --- p.8 / The Ethnomusicological Perspective --- p.8 / The Socio-cultural Perspective --- p.10 / The Heritage Perspective --- p.13 / Methodology --- p.15 / Participant Observation --- p.17 / Interviews --- p.19 / Thesis Structure --- p.20 / The Romanization of Chinese Wordings --- p.21 / Chapter Chapter Two --- : History of Cantonese Opera and its Music Community --- p.22 / Tracing the Roots of Cantonese Opera --- p.22 / Before the 1900s --- p.24 / From the 1900s to the 1960s --- p.25 / From the 1960s to the 1980s --- p.25 / From the 1980s until the Present --- p.26 / Background of the Cantonese Opera Music Community --- p.29 / Differentiating between Yueju, Yuequ and Yuele --- p.33 / The Music Community in Guangzhou --- p.35 / Chapter Chapter Three --- : The Amaterus - The “Happy“ Ones? --- p.38 / General Description --- p.38 / Primary Informants --- p.39 / The Sunshine Cantonese Opera Troupe --- p.40 / The District Workers’ Association Cantonese Opera Troupe --- p.41 / The Evergreen Cantonese Opera Troupe --- p.43 / What is “Sifoguhk“? --- p.44 / Hierarchies between Amateurs --- p.46 / The Status of Sifu --- p.47 / The Musicians’ List --- p.48 / The Amateur Community as a Whole --- p.50 / The Invasion of Capitalism --- p.51 / The “Common Enemy“ --- p.53 / Summary: Are they truly the “happy ones“? --- p.56 / Chapter Chapter Four --- : The Professional Musicians - The Dream Chasers --- p.58 / General Description --- p.58 / “The Cantonese Opera Music Boulevard“ --- p.58 / Primary Informants --- p.60 / The New World Hotel --- p.61 / The City Grand Hotel --- p.62 / Tensions within the Community --- p.63 / Competition between Tea Houses --- p.64 / Relationship between Musicians, Singers and the Audience --- p.67 / The Professional Music Community as a Whole --- p.70 / The Rural-City Melting Pot --- p.71 / The Changing Market Demand --- p.73 / Summary: What is the Shared Dream? --- p.76 / Chapter Chapter Five --- : The National Experts - The Heritage Preservers --- p.78 / General Description --- p.78 / The State’s Theatres --- p.79 / Primary Informants --- p.82 / The Guangzhou City Cantonese Opera Troupe --- p.83 / The Cantonese Music and Folk Art Troupe --- p.84 / Categorizing Musicians --- p.85 / The Yueju and Yuequ Distinction --- p.86 / The National Ranking System --- p.88 / The Power of the State --- p.91 / The Institutionalization of Folk Art --- p.92 / The Nationalization of Local Art Form --- p.94 / Summary: The Heritage Preservers --- p.97 / Chapter Chapter Six --- : From Art-form to Uni-form --- p.99 / Introduction --- p.99 / The Composition of the Community --- p.101 / The Characteristics of the Community --- p.106 / Segregation within the Community --- p.110 / Summary --- p.115 / Chapter Chapter Seven --- : Conclusion --- p.118 / Bibliography --- p.127

陳澤蕾. / "2001年9月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 148-151) / 附中英文摘要. / "2001 nian 9 yue" / Chen Zelei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 148-151) / Fu Zhong Ying wen zhai yao. / Chapter 一、 --- 導論一從關目身段探討性別建構 --- p.1-12 / Chapter 1.1 --- 粤劇發展槪述 --- p.1-5 / Chapter 1.2 --- 粤劇硏究槪說 --- p.5-7 / Chapter 1.3 --- 關目身段在粤劇中所扮演角色 --- p.8-10 / Chapter 1.4 --- 性別角度對粤劇硏究的意義 --- p.11-13 / Chapter 二、 --- 性別建構權力 --- p.14-46 / Chapter 2.1 --- 生旦關目身段舉偶比較 --- p.18-28 / Chapter 2.1.1 --- 手 --- p.18-20 / Chapter 2.1.2 --- 步 --- p.20-24 / Chapter 2.1.3 --- 眼 --- p.24-26 / Chapter 2.1.4 --- 身 --- p.26-28 / Chapter 2.2 --- 形體動作與權力之關係 --- p.29-27 / Chapter 2.2.1 --- 審美標準的設定 --- p.29-36 / Chapter 2.2.2 --- 關目身段與權力 --- p.36-42 / Chapter 2.2.2.1 --- 性別 --- p.36-38 / Chapter 2.2.2.2 --- 階級 --- p.38-42 / Chapter 2.3 --- 舞臺上的議價空間 --- p.42-46 / Chapter 三、 --- 性別建構與認同 --- p.47-73 / Chapter 3.1 --- 性別認同繩規的設定 --- p.48-55 / Chapter 3.2 --- 演員性別建構過程 --- p.55-64 / Chapter 3.2.1 --- 生角性別建構過程 --- p.55-60 / Chapter 3.2.2 --- 旦角性別建構過程 --- p.60-64 / Chapter 3.3 --- 關目身段作爲性別認同的再現形式 --- p.64-73 / Chapter 四、 --- 性別越界與重構 --- p.74-104 / Chapter 4.1 --- 舞臺上性別越界空間 --- p.75-82 / Chapter 4.2 --- 反串與非反串的比較 --- p.82-88 / Chapter 4.3 --- 性別越界的兩面性 --- p.88-96 / Chapter 4.4 --- 關目身段與性別重構 --- p.97-104 / Chapter 五、 --- 結論一性別建構的關目身段的性別建構 --- p.105- / Chapter 5.1 --- 粤劇舞臺藝術發展 --- p.105-108 / Chapter 5.2 --- 粤劇硏究展望 --- p.108-110 / Chapter 5.3 --- 關目身段性別意蘊 --- p.111-114 / Chapter 5.4 --- 撰文困局與性別論述複雜性的觀照 --- p.114-116 / Chapter 5.5 --- 性別角度粤劇硏究之文化價値 --- p.116-118 / Chapter 六、 --- 附註 --- p.119-134 / Chapter 七、 --- 附錄一、插圖 --- p.135-147 / Chapter 八、 --- 參考資料 --- p.148-152

Thesis (Ph.D.)--Northwestern University, 1989. / Includes bibliographical references.

Thesis (Ph.D.)--Southern Illinois University at Carbondale, 1974. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

Combattimento di Tancredi e Clorinda / C. Monteverdi -- On Wenlock Edge / R. Vaughan Williams -- Selections from L'elisir d'amore / G. Donizetti. / text

Not available / text