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11	John Christian Bach's Artaserse: an eighteenth-century opera seria Smith, Carolyn Jeanne. January 1978 (has links) Call number: LD2668 .T4 1978 S62 / Master of Music Opera--Italy--History and criticism. Operas--Scores. Masters theses
12	Riders to the Sea Carson, Michael, 1959- 12 1900 (has links) Riders to the Sea is a chamber opera in one act of approximately 40 minutes in duration. The single act is divided into six scenes that progress without pause. The vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1 baritone, and an off-stage chorus of men's voices (tenor I, tenor II, baritone, and bass; two per part). The orchestra will be comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings (2-2-2-2-1), piano, 2 percussionists, and tape, that will be used to provide a continuous background of surf and wind sounds. Authentic Irish folk songs are threaded throughout the work, generally functioning as a background element, while twentieth-century compositional techniques are utilized primarily for special effects. chamber operas music composition John Millington Synge Operas -- Scores.
13	House in Heaven Gan, On C. (On Cally) 12 1900 (has links) House in Heaven is a theatrical piece for five solo voices (one soprano, two mezzo sopranos, one baritone, and one bass), two trumpets, four French horns, one trombone, two flutes, two clarinets, two bassoons, string orchestra, vibraphone, timpani and a synthesizer which produces pipe organ sound. The composition consists of an introduction followed by a single act in three Scenes. The piece employs the cyclical device in engaging themes associated with particular characters. The texture grows from simple alternating dialogues to arias and, finally, to tutti passages in which all voices are combined to form a quintet, at the climactic point of the entire composition, which occurs at the end of the piece. The scenes depict imaginary events in a Church and at a flower garden. Rear-stage slide projections are used to project the scenes of these locations, and lighting is used to emphasize actions, characters and changes of scene. The singers also serve as actors. The duration of this work is approximately 20 minutes. theatrical pieces vocal performance intrusmental ensamble Operas -- Scores.
14	Guacamayo's old song and dance : an opera in one act for 5 voices and amplified chamber ensemble Oliver, E. John C. (Edward John Clavering) January 1991 (has links) The notion of identity between the ancient and the contemporary, which has its source in Mayan studies, informs the design principles of this work. Specific techniques are listed for the design of musical space and time in Guacamayo, which is "a musical drama that strives for synthesis." There follows an outline of the principle motivic material, approaches to melodic construction and text setting, techniques used to design space (or pitch) and time (or rhythm)--including traditional harmony, symmetrical modes, non-octaviating space and random number generation in the first case, and speech rhythm, folk rhythm, metre and tempo in the second--as well as the role of summation series in the construction of both time and space. A discussion of dialectic concepts, and the ways in which different techniques are combined to create a sense of motion between simple textures and complex ones leads to consideration of form-determining placement of important scenes from the opera. Comments on the composition of the orchestra and electroacoustic music conclude the essay. Operas -- Scores. Music -- Manuscripts -- Facsimiles Electronic music
15	Land of Dreams Sanders, Greg 12 1900 (has links) LAND OF DREAMS is an opera in one act based on poems by the English poet William Blake. The work is for chamber orchestra, dancers, and an actor, as well as the vocal cast listed below. Cast of Characters Thomas Soprano The Father Baritone The Nurse Alto The Mother Mezzo Soprano The opera divides into eight sections with a total performance time of approximately forty minutes. Each section represents a different stylistic approach to the musical material. This juxtaposing of various styles is reflective of the eclectic nature of the text. The setting is England around 1800, the scene is a child's (Thomas) bedroom. All of the dramatic action takes place in this room in the various stages of the conscious (awake) and unconscious (asleep) states of the child's mind. opera music Operas -- Scores. William Blake juxtaposition in music
16	A Voice Crying in the Wilderness: An Opera Based on the Life of John the Baptist Irvin, Nat, 1951- 08 1900 (has links) "A Voice Crying In The Wilderness," an opera in two acts, is written for baritone soloist (John) and chorus with minor singing roles for two sopranos, mezzo soprano, tenor, a major speaking role for male falsetto voice, and three lesser speaking roles for tenor voices. Members of the chorus are required to play an assortment of percussion instruments and must be able to dance in contemporary modern dance styles. The opera is scored for large string orchestra, amplified solo viola, two electronic "digital" keyboards, and a large assortment of percussion instruments. (The keyboard scores were conceived using the "CZ-1" model digital synthesizer by Casio and the "KORG DW 8000" digital synthesizer.) The opera is divided into two acts and is approximately 80 minutes in duration. Each act consists of a combination of very broad scene complexes made up of dances, recitatives, choruses, instrumental interludes, arias, and rituals. There is a short intermission between the two acts. operas John the Baptist opera analysis John, the Baptist, Saint -- Drama. Operas -- Scores.
17	Guacamayo's old song and dance : an opera in one act for 5 voices and amplified chamber ensemble Oliver, E. John C. (Edward John Clavering) January 1991 (has links) No description available. Operas -- Scores. Music -- Manuscripts -- Facsimiles Electronic music
18	I, Blavatsky: A One-Act Opera Cooper, Steve, 1951 Dec. 4- 05 1900 (has links) I, Blavatsky is a one-act opera based on the life of Helena Petrovna Blavatsky, a nineteenth-century Russian princess and co-founder of a religious organization called the Theosophical Society. The libretto, by the composer, involves a cast of three principal soloists and minor roles for six more singers who are also participants in a small chorus. The text format features free verse alternating with regular, rhymed strophes. Accompaniment is provided by a piano. Melodic structure combines some nineteenth-century Romantic idioms with twentieth-century style. Most of the melodic and harmonic material was intuitively composed to express the text. Rhythmic and stylistic contrasts are accomplished in the representation of the extensive travels of the main character. Stage directions involve a stylized set, several scenes requiring minimal set changes, magical effects to represent that facet of Blavatsky's life, and onstage costume changes for several characters. Approximate duration is one hour. Helena Petrovna Blavatsky one-act operas I, Blavatsky Operas -- Scores.
19	Die Opernprobe by Albert Lortzing: a Critical Edition McDaniel, Jan (Pianist) 08 1900 (has links) The purpose of the present edition of Albert Lortzing's Die Opernprobe is to restore and clarify the composer's original intentions, which were often obscured or altered by the first published version, which appeared in 1899. This thesis is divided into two parts. Part One contains an introduction which discusses Lortzing's place in the history of German opera, the details surrounding the composition of Die Opernprobe, the musical and dramatic structure of the opera, and the sources used in the preparation of this edition. Part Two consists of a critical edition of the orchestral score, with the complete text of the spoken dialogue and stage directions. Critical notes and an English translation of the full text are included in two appendixes. Albert Lortzing Die Opernprobe German opera Lortzing, Albert, 1801-1851. Opernprobe. Operas -- Scores. Opera -- Germany -- 19th century.
20	Transient Delete: Original Composition with a Critical Examination of the Compositional Process and a Survey of Digital Technology in Opera Shirey, Benjamin, 1985- 05 1900 (has links) This paper explores various technologies available to the modern composer and utilized in recent modern opera, providing creative approaches to producing aural, visual, and theatrical performance environments. It also explores my own use of digital technology in Transient Delete. Transient Delete is a digital miniature-opera that explores different aspects of a community of post-human cyborgs. The story follows Iméra, a newly converted cyborg as she acclimates herself to this new cybernetic existence. During this process she meets several other cybernetic entities that are there to help guide her through her metamorphosis. Opera Digital opera Transhumanism Posthuman Cyborgs Motion capture MIDI controlers Composition Composition (Music) Opera. Electronic composition. Operas -- Scores. Electronic music. Academic theses Operas Scores

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