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The songs of Puccini provide another approach to understanding the composer's musical development. The objective of the study is twofold; first to provide a discussion of the musical style of Puccini's songs; and second, to show how Puccini utilized and integrated the preexistent material into the operas. The songs are grouped and characterized in three stylistic periods. In each period, Puccini was concerned with different issues in text setting. They anticipated or corresponded to the musical style of his operas, and this is evident by his use of the earlier songs in the later operas. Three examples of such cases are examined. The details involved in the transformation of self-borrowing are illustrated in terms of recomposition, expansion of the vocal line and orchestration. Each case illustrates the textual and/or musical consideration by Puccini of the original source for the new dramatic context of the opera. The borrowed material, often incorporated with new themes and expressive orchestration, blooms as an effective dramatic piece of music in his operas. In addition to the lecture recital, based on the dissertation and given on June 23, 1997, three other public recitals were performed. The first, on February 27, 1989, included works of Schubert, Brahms, Wolf, and Strauss. The second program, an operatic performance of The Queen of Spades by Tchaikovsky, was given on April 20, 1991. The third recital was performed on February 20, 1995, and included works by Handel, Mozart, Stravinsky, Schubert, Poulenc, and Turina.

Master of Music / Department of Music / Amy Rosine / This report consists of extended program notes for a master’s vocal recital for soprano, given by Mai Shibahara on April 20, 2009 at 7:30 p.m. in All Faiths Chapel Auditorium on the Kansas State University campus. Included on the recital were works by Franz Lachner, Vincenzo Bellini, Franz Liszt, Johannes Brahms, Giacomo Puccini, and Dominick Argento. The program notes include biographical information about the composers and a textual and musical analysis of their works, which were performed on this recital. / Seit ich in gesehen by Franz Lachner; Vaga luna che inargenti, Per pietà, bell̕idol mio, Ma rendi pur contento by Vincenzo Bellini; Oh!quand je dors, S'il est un charmant gazon by Franz Liszt; Die Mainacht, Wir wandelten, Wie Melodien zieht es mir by Johannes Brahms; "O soave fanciulla" from La Bohème, "Chi il bel sogno di Doretta" from La Rondine by Giacomo Puccini; Six Elizabethan songs by Dominick Argento.

by Cheung Ki Kitty. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Includes bibliographical references (leaves 123-126). / Abstract also in Chinese. / Chapter 1 --- Introduction --- p.1 / Chapter 2 --- La boheme (Mimi) --- p.7 / Chapter 3 --- Tosca (Tosca) --- p.26 / Chapter 4 --- Madama Butterfly (Cio Cio San) --- p.45 / Chapter 5 --- Conclusion --- p.62 / Appendix --- p.68 / Bibliography --- p.123

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 100-102).

Sebastian Beverloo: "Damn Pinkerton, and all such as he! – Om orientalism i Madame Butterfly." Exa- mensarbete på kandidatnivå i musikvetenskap, Institutionen för musik- och teatervetenskap, Stockholms universitet, ht 2014. Orientalism är teorin att Väst, genom representation i konsten, har förmedlat en ofördelaktig bild av Ori- entens folk, seder och bruk. Begreppet förklarar de estetiska strömningar som följde med den ostindiska handeln och den europeiska kolonialismen. Problemen som teorin om kulturell orientalism sätter fingret på innefattar olika aspekter av representation; hur orientalerna (redan det ett problematiskt begrepp i sig) har gestaltats i konsten. Ett av de centrala problemen är att etnicitet lyfts fram före individualitet: en orien- talisk man är i första hand orientalisk, och bara i andra hand man. Det här arbetet problematiserar repre- sentationen av rollpersonerna i den kvartett av verk, som jag kallar för Madame Geisha-berättelsen (Lotis Madame Chrysanthème (1887), Longs Madame Butterfly (1898), Belascos Madame Butterfly (1900), Puc- cinis Madama Butterfly (1904-7)). Mer specifikt undersöks hur den japanska kvinnan gestaltas genom alla de fyra verken – i synnerhet med hänsyn till relationen mellan japansk kvinnlighet och västerländsk man- lighet. Ett av huvudproblemen är att centralfiguren i berättelsen är en japansk kvinna, trots att ingen av de inblandade författarna var varken japansk eller en kvinna. Verken studeras sida vid sida och jämförs utifrån orientalistiska och genusrelaterade problem. En del av undersökningen ägnas även åt Butterflys påstaådda verkliga ursprung.

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).

Univ., Diss--Salamanca. / Cont. bibl. and notes. Giovanni Papini (1881-1956); Giuseppe Prezzolini (1882-1982); Mario Puccini (1887-1957); Giovanni Boine (1887-1917).

This thesis is a design for Puccini's opera, La Boheme, which I have set in the 1890’s instead of the l830's in which Puccini originally set it. The main reason for this period change is based on the fact that the music, the spirit, and the characters themselves, seem to fit naturally and appropriately into the glitter, the charm, and the artistic mood of the "gay nineties". I have set the opera on the Metropolitan Opera House stage, and have included-photographs of the half-inch scale model constructed for this purpose. The actual settings are simple, suggesting only the basic architectural necessities, in order to allow the background - a system of projection screens and mirrors, to predominate and filter through the action constantly. In designing the costumes, I have adhered closely to the silhouette of the 1890's, exaggerating, simplifying, or emphasizing particular elements in order to heighten their dramatic effect. I have assigned specific, restricted colour schemes to the characters which I considered appropriate and in character. Although I did not rely entirely on artistic works, the majority of the research into the period is centred around the paintings of Toulouse-Lautrec, Degas, and Utrillo, as well as the lithographs and posters of Lautrec, Cheret, and other turn-of-the-century artists. The thesis also includes technical drawings and a lighting layout, section, and instrument schedule. Generally speaking, charm, simplicity, and a romantic mood, are the qualities for which I strove in the design of the opera. / Arts, Faculty of / Theatre and Film, Department of / Graduate