With this essay, I’m reviewing with a narrative analysis, describing in what way the standards of feminism, bisexuality and non-monogomy is being represented in the movie Puccini for beginners. I’m reviewing this in support of a queer and straight time. As a complement for queer and straight time, I’m presenting different theoretical concepts, which are useful for the analyze of feminism, bisexuality and non-monogamy. The analyze is based on the categories of Labov. In which way the narritve is constructed, as well as in what way feminism, bisexuality and non-monogamy are being represented. Finally I’m summing-up how I answered my questions regarding straight and queer time in perspective of feminism, bisexuality and non-monogamy.

This dissertation focuses on the artistic and architectural patronage of the Pucci family, Medici stalwarts whose carefully constructed political and cultural alignment with the ruling family of Florence was the impetus for their rising fortunes over the course of the 15th and 16th centuries. Their homes, chapels, and palaces in Tuscany and Rome were designed and furnished with paintings, sculpture, and intarsiated woodwork attributable to Michelozzo; the Pollaiuolo brothers; Botticelli; Giuliano da Sangallo and the heirs to his workshop: Francesco da Sangallo and Antonio da Sangallo the Younger; Baccio d'Agnolo; Pontormo; Bronzino; Baccio and Raffaello da Montelupo; Pietro and Domenico Rosselli; Michelangelo; Bartolommeo Ammannati; Giovanni Battista Naldini; Alessandro Allori; and Giovanni Battista Caccini.

abstract: The focus of this in-depth study is to look at the gestation, performance history, and reception of Giacomo Puccini's evening of three one-act operas called Il Trittico and differentiate the particular components, Il Tabarro, Suor Angelica, and Gianni Schicchi to analyze them for their individual stylistic elements of Italian Opera. These were the styles of verismo, pathos and sentimentality, and opera buffa. As substantiated by written criticism, the audience and the critics did not fully comprehend the hidden meaning behind the individual works of Il Trittico. Puccini, enigmatically, had chosen to present one last glimpse of outmoded Italian operatic traditions. In order to evaluate Il Trittico's importance in the history of Italian opera, this study will first review the musically changing landscape in Italy during the early to mid-nineteenth century, then the second part of the nineteenth and beginning of the twentieth-century when German, French, and eventually Russian music were starting to influence audience taste. Puccini who, over the course of his compositional life, absorbed and incorporated these different styles realized that long held Italian operatic tradition had reached a fork in the road. One path would ensure Italian composers a place in this new order and the other a stagnant dead end. Even though Puccini's triptych garnered primarily negative reviews, the basis for this negativity was the perception that Il Trittico had broken with the historically traditional Italian musical styles. Though the present study acknowledges that break to a degree, it will also present a historically based rationale for the deviation, one left largely unnoticed by Puccini's critics. In the end, this author plans to realize their symbolic importance as a farewell to three uniquely Italian styles and a departure point for a new operatic tradition. Looking forward to the centenary of the work, this author seeks to illuminate how Puccini reached the pinnacle of firmly rooted genres of Italian opera. Ultimately this might help to unravel the enigma of Il Trittico while it continues to secure its rightful place as one of the masterpieces of the Puccini canon. / Dissertation/Thesis / Masters Thesis Music 2015

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Ce mémoire porte sur l’instrumentalisation politique de la figure du compositeur Giacomo Puccini (1858-1924) et de ses œuvres, plus spécifiquement Turandot (1926), pendant la période fasciste en Italie (1922-1945). Il traite de la dichotomie entre tradition et modernité présente dans la propagande culturelle fasciste, notamment dans la réappropriation du mythe de Puccini à la suite de son décès en 1924, puis de façon exacerbée dans l’utilisation politique de Turandot, plus particulièrement au moment de la création de l’opéra en 1926. Cette recherche repose sur l’étude de la presse italienne et des revues culturelles de l’époque afin d’analyser la manipulation du discours entourant la figure de Puccini. L’exploitation de son statut de compositeur national, le développement de son image d’homme du peuple et l’exaltation de son génie musical, vu à la fois comme universel et italien, ont permis aux représentants du régime d’héroïser Puccini selon les divers idéaux fascistes. Ultimement, ce mémoire vise à montrer comment Puccini a fait l’objet d’une récupération idéologique afin de favoriser un consensus populaire et une consolidation identitaire permettant la légitimation du pouvoir mussolinien. Ce cas de figure exemplifie les effets de la rhétorique et des mécanismes culturels d’une hégémonie totalitaire dans la vie musicale d’une nation. / This thesis explores the political appropriation of composer Giacomo Puccini (1858-1924) and his operas during the fascist period in Italy (1922-1945). It highlights the dichotomy created by the regime’s insistence on both tradition and modernity in its cultural propaganda, as mirrored in the reinterpretation of the myth surrounding Puccini after his death in 1924—particularly in the political use of Turandot after the opera’s 1926 premiere. Based on a detailed study of the Italian press of the time and of cultural magazines controlled by the regime, this research analyzes the manipulation of the discourse surrounding Puccini’s image in fascist Italy. Party members exploited Puccini’s myth by insisting on his status as a national Italian composer, his image as a man of the people, and his musical genius, considered as both universal and quintessentially Italian. Through this rhetoric, Puccini became a standard-bearer of fascist ideology, praised both as a composer of the great Italian opera tradition and as a highly modern creator. Ultimately, the aim of this thesis is to understand how Puccini was subjected to an ideological appropriation that legitimized fascist authority by fostering social consensus and establishing a strong Italian collective identity. Puccini’s case exemplifies the effects of a totalitarian regime’s rhetoric and cultural mechanisms on the musical life of a nation.

As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.

Made available in DSpace on 2016-04-28T20:57:28Z (GMT). No. of bitstreams: 1 Maria Ceres Rodrigues Murad.pdf: 3686392 bytes, checksum: ccf7dcf1129072d6537c57a65867fbbb (MD5) Previous issue date: 2008-06-02 / The present research shows how a project aimed to develop the reading, writing and drawing abilities of students from the lower economic layers of Brazilian population, as well as to improve their musicality, dancing and staging promotes learning and development for all children enrolled in the 1st. grade of basic schooling. For such, it was developed a project called Opera for All (OFAP), involving 31 pupils of a community school, located in the periphery of São Luís, Maranhão, a northeast state of Brazil. The basic assumptions of the research were taken from Vygotskian social historical theory, in special the idea that what is lived through concrete actions is converted in abstract material, in superior mental functions. Since this is an Art project, contradictions typical of this area were generated, provoking choc, destruction and also overcoming of these feelings, promoting, consequently, development. The study offers consistent results, especially in what concerns voluntary attention, self-regulation and self-knowledge. The research points out that: a) the rhyme is an important mediator for autonomous writing, notably when the students are in the processing of acquiring reading and writing abilities; b) observational drawing acts as a facilitator for the elaboration of personal drawings, offering details and references easily appropriated by 6 to 7 years old children; c) both rhymes and observation drawing, when practiced, promote voluntary attention, memory and imagination. The research concludes that the staging and the appreciation of an Opera by children, under the supervision of adults, using well structured activities and meaningful material, involve active and creative actions, which, in turn, propel human development / A presente pesquisa mostra como um projeto de apreciação, leitura, escrita, desenho, musicalização, dança e encenação de uma ópera pode promover a aprendizagem e o desenvolvimento de alunos oriundos das camadas de baixa renda da população brasileira, freqüentando a 1ª. Série do Ensino Fundamental. Para o estudo, foi desenvolvido o Projeto Ópera para Todos (POPT) junto a 31 crianças de uma escola comunitária, situada na periferia de São Luís, Maranhão, nordeste do Brasil. Os estudos foram realizados com base nos pressupostos teóricos vigotskianos, em especial o de que tudo aquilo que é vivenciado por meio da ação concreta se converte em material abstrato, ou seja, em funções mentais superiores. Como a vivência descrita deu-se no campo das artes, as contradições aí implícitas foram responsáveis por choques, destruição, superação e desenvolvimento dos envolvidos. O estudo oferece resultados consistentes sobre o desenvolvimento da atenção voluntária, da auto-regulação da conduta e do autoconhecimento. O trabalho sugere, ainda, que: a) a rima é um mediador importante para a escrita de autoria por parte de alunos que se encontram no início do processo de aprendizagem da leitura e da escrita; b) o desenho de observação atua como facilitador para a elaboração de desenhos de autoria, oferecendo detalhes e referências facilmente apropriadas por crianças na faixa etária de 6 a 7 anos; e c) que tanto a rima como o desenho de observação, ao serem exercitados, promovem a atenção voluntária, a memória e a imaginação. A pesquisa conclui que a apreciação e encenação de uma ópera por parte de crianças e sob a supervisão de adultos, por empregar atividades estruturadas e materiais significativos, envolvendo ações ativas e criativas, impulsionam o desenvolvimento humano

As a popular historic work with constant and worldwide performances, the sexist and racist narratives disseminated by Giacomo Puccini's opera Madama Butterfly causes harmful social and political ramifications. Many scholars point to this opera specifically when discussing the fetishization of Asian females, and mention the title character as the quintessential example of damaging stereotypes. Thus, I conduct a postcolonial and feminist reading of Madama Butterfly, through analysis of the opera's libretto, the libretto sources, and the opera's score. I unravel the Orientalist assumptions that make up the foundation of the Butterfly narrative, and trace them as they make their way into Puccini's opera. I re-read Madama Butterfly as a metaphor for imperialism, and its effects on the colonized psyche. I examine Lieutenant Pinkerton and Butterfly's characters with specific attention to the power dynamics of their relationship in the context of colonization. I emphasize gender, race, and class tensions evident within the white male and white female gazes on the bodies of third world women of color. I present Puccini's musical choices in the operatic score as supplementary to my postcolonial-feminist reading. Puccini's use of pentatonic scales to evoke "Oriental" sounds, as well as his appropriation of Japanese folk tunes and "The Star Spangled Banner" into the score serve to supplement my basic contentions that Madama Butterfly is a product of Oriental discourse and a metaphor for imperialism and its effect on the colonized psyche.