Access to abstract restricted until 12/14/2016 / Historical context -- Character analysis : Susannah Polk -- Character analyses : Little Bat McLean and Sam Polk -- Character analysis : Reverend Olin Blitch -- Character analyses : Mrs. McLean and chorus. / Access to thesis restricted until 12/14/2016 / School of Music

Thesis (Ph.D.) - University of Glasgow, 2008. / Ph.D. thesis submitted to the Department of English Literature, University of Glasgow, 2008. Includes bibliographical references. Print version also available.

Chiu Wai Yee, Lulu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 68-74). / Abstracts in English and Chinese. / List of tables --- p.vii / Introduction --- p.1 / Chapter Chapter One. --- The History of Opera Buffa / The origins of opera buffa --- p.4 / The development of opera buffa --- p.9 / The collaboration of Galuppi and Goldoni --- p.11 / Chapter Chapter Two. --- "Il filosofo di campagna,ts Plot, Orchestration, Overture and Tonal Organization" / The plot of Il filosofo di campagna --- p.20 / The orchestration of the opera --- p.24 / The overture of the opera --- p.25 / The tonal organization of the opera --- p.28 / Chapter Chapter Three. --- Characterization in the Solo Arias of Il filosofo di campagna / Buffa characteristics in the music of Don Tritemio --- p.32 / Seria characteristics in the music ofRinaldo --- p.36 / Mixed characteristics in the music of Lesbina and Nardo --- p.38 / Chapter Chapter Four. --- Characterization in the Ensembles of Il filosofo di campagna / Comic characteristics in the music of the Act one finale --- p.52 / The quasi-conclusion Act two finale --- p.61 / The problematic Act three finale --- p.64 / Conclusion --- p.66 / Bibliography --- p.68 / Appendices --- p.75 / Chapter A. --- The title-page and the cast list of Goldoni's libretto --- p.76 / Chapter B. --- The texts of the three finales --- p.77 / Chapter C. --- Musical examples of Il filosofo di campagna Overture --- p.86 / "Don Tritemio's aria ""La mia ragion e questa，"" Act one，sceneiii" --- p.95 / "Rinaldo's aria ""Taci，amor, nel seno mio，"" Act one, sceneiv" --- p.98 / "Lesbina's three canzonettas, Act one, sceneii:" / """Quando son giovine，""" --- p.104 / """Son fresca, son bella,""" --- p.105 / """Non raccoglie le mie foglie，""" --- p.106 / "Lesbina's aria ""Compatite，Signor，s'io non so,"" Act one, scenex" --- p.108 / "Lesbina's aria ""Una ragazza, che non e pazza，"" Act two, scenex" --- p.111 / "Nardo's aria ""Vedo quell'albero，"" Act one，scenevii" --- p.116 / "Nardo's aria ""Se non e nata nobile,"" Act two, scenexiv" --- p.119 / Act one finale --- p.124 / Act two finale --- p.137 / Act three finale --- p.149

This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.