No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1982.

Thesis (Ed. D.)--Teachers College, Columbia University, 1987. / Typescript; issued also on microfilm. Sponsor: Louis Forsdale. Dissertation Committee: Raymond P. McDermott. Bibliography: leaves 217-225.

Thesis (M.Phil) - University of Queensland, 2005. / Includes bibliography.

Thought of as the hero of the opera at the premiere but described later as being somewhat monochromatic and uninteresting, the role of Posa in Verdi's Don Carlos has recently attracted more attention. On the one hand he is portrayed as a naive ideologue, on the other a ruthless manipulator of persons. It is my intent to show that in crafting the character of Posa, Verdi shaped the music to portray him as a righteous diplomat: diplomatic in that he speaks the musical language of the person to whom he is making his political entreaties, and righteous in that his music stands in stark contrast to that of Le Grand Inquisiteur and is more aligned with that of Une Voix d'en Haut. I put forth and defend the personal interpretation that Posa could, in fact, be a Calvinist. How this theory affects the performance of this role is demonstrated through an investigation of the dramatic impulses of the Trio of Acte III, 3me Tableau.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The dissertation examines adaptations of Shakespearean plays in the operatic libretti of Giuseppe Verdi (1813-1901), who dominated Italian opera in the second half of the nineteenth century. Although Verdi relied on the assistance of librettists with all his operas, he maintained scrupulous control over the textual details. The primary focus is on the triangle formed by Shakespeare, Verdi, and the librettist with considered attention to the ways in which a dramatic crux, or challenge, will both differ from and be cognate with an operatic crux. The monograph explores original Shakespearean sources, literary and musicological criticism, and the impact of historical circumstances on the genesis of Verdi's Shakespearean libretti. A brief biographical account of the composer is followed by a synopsis of the development of opera and an overview of the role of the librettist. It then addresses the distinguishing features of Shakespeare's writing that need to be considered when assessing adaptations of his plays into libretti. The second, third, and fourth parts of the study focus respectively on the three operas: Macbeth (1847) written with librettist Francesco Piave, Otello (1887), and Falstaff (1893), the latter two written with Arrigo Boito. Additional research includes new evidence regarding Verdi's unfinished Re Lear. The three complete operas are examined in close textual comparison with their original sources. Particular attention is given to the translations used in the libretti; textual and plot conformity; replication of rhyme and meter; diction and syntax; character portrayal and replication; and distinctions between dramatic and operatic settings. The study also compares different editions of the plays upon which the operas were based, as well as various editions of correspondence. The conclusion assesses Verdi's contribution to Shakespearean adaptation and the subsequent implications for the task of the librettist in creating a quality text that enhances, rather than detracts from, the composer's effort. / 2031-01-02

BREEAM is a voluntary environmental certification, which covers all aspects of the construction of a building. A BREEAM building also referred to as a green building. In Norway BREEAM is the dominant environmental certification scheme. In the survey carried out among brokers and building owners in the Norwegian market 97.5% of respondents responds that they know or have good knowledge of BREEAM certification. In recent years, one has recorded an increase in the number of buildings that are BREEAM certified in Norway. How does BREEAM certification affect the market value of a building? By using traditional models for valuation (discounted cash flow analysis) one can, by including the building performance and the market performance, calculate the value added. This market performance can be translated into higher rental income, higher occupancy, lower operating costs or lower risk premium. In the survey carried out 68% responding that they think a BREEAM certified building has a higher value. The calculation that has been carried out shows that this is very likely, but that the size of the value added depends on risk assessment, as well as how the market reacts to the green building. The biggest drivers of the continuous development of BREEAM in the Norwegian market is, according to the survey, that BREEAM buildings have higher value, transaction market demand it, image and internal value of the tenants , environmental requirements and less risk in terms of future regulatory requirements.

The popularity of the miscellaneous wind bands in Italian society through the centuries, and the prominent use of the trumpet within these ensembles and as a solo instrument, become evident in the examination of the development of the banda sul palco (the band on stage) in Italian opera. Gioachino Rossini was the first to use the banda sul palco (stage band) with any regularity. Giovanni Paisiello, Giuseppe Gazzaniga, and Wolfgang Amadeus Mozart must be considered earlier contributors to the growing movement of using instrumental ensembles on stage.

Made available in DSpace on 2016-04-18T21:31:43Z (GMT). No. of bitstreams: 6 Maria Clarice Lima Rodrigues1.pdf: 1625547 bytes, checksum: 08f4dbfe35662fac759b407c89c425dd (MD5) Maria Clarice Lima Rodrigues2.pdf: 3342755 bytes, checksum: 2b2e5f9b3aad590f7f5c6d7ba126a584 (MD5) Maria Clarice Lima Rodrigues3.pdf: 3272978 bytes, checksum: 82a51b6b87960cb73c34dd3574e109c8 (MD5) Maria Clarice Lima Rodrigues4.pdf: 1364254 bytes, checksum: b85318cfaee922ae97ee966853cce001 (MD5) Maria Clarice Lima Rodrigues5.pdf: 2796482 bytes, checksum: 58073e41c20ffb2d71800b07bf6c3861 (MD5) Maria Clarice Lima Rodrigues6.pdf: 799728 bytes, checksum: e91b149c76eead026df3a3eaf4d634da (MD5) Previous issue date: 2008-08-04 / The present work centralizes the political practice of Giuseppe Verdi and the analysis of the feminine voices in the Romantic Opera Aida. Through music and an exemplar personal conduct, the nationalist composer has expressed his own political opinions with his operas, which made him a symbol of the conquest of independence and national unity, a period known as Risorgimento, a movement of the Italian history that sought the country s unification between 1875 and 1870. Composed in his maturity, Aida (1871) reflects two crucial aspects of his carrier: the political theme and the concern about man within the society. His contribution for the Italian Romantic Opera development brought innovations in two ways: a) the evolution of drama, where we find the ideal solution between text and music, the word Scenic that first occurred in the end of the XIX and beginning of the XX century; b) the vocal typology of the end of Romanticism the specificity that Verdi gave vocal registries of his characters in that period achieved much importance, so now it is known as Verdian Vocal Evolutions. As a historical reference of Aida and its period of composition from the time it was ordered to its premiere in Cairo and Milan this research seeks after the dialogue in the correspondences between Verdi and his friends, and his co-participation in a libretto with Antonio Ghislanzoni. In relation to the feminine voices, we have investigated the detailing of Verdi s vocal registries and particularities in the vocal line of characters Aida (soprano) and Amneris (mezzo-soprano), presenting a descriptive analysis of the musical excerpts studied in accordance with the evolution of the drama. / O presente trabalho centraliza a prática política de Giuseppe Verdi e a análise das vozes femininas em sua ópera romântica Aída. Através da música e de sua exemplar conduta cívica, o compositor nacionalista expressou suas opiniões políticas com suas óperas. Desse modo transformou-se em símbolo do processo de conquista da independência e da unidade nacional, período conhecido como Risorgimento, movimento na história italiana que buscou entre 1815 e 1870 unificar o país. Composta na maturidade, Aída (1871) reflete dois aspectos cruciais de sua carreira: o tema político e a preocupação com o homem dentro da sociedade. Sua contribuição para o desenvolvimento da ópera romântica italiana trouxe importantes inovações em duas vertentes: a) na evolução do drama, onde encontramos a solução ideal entre texto e música, a palavra cênica, ocorrida na virada do século XIX para o XX e b) na tipologia vocal no final do Romantismo a especificidade que Verdi concedeu aos registros vocais de suas personagens no período, a ponto de chamarmos mais particularmente como evolução das vozes verdianas. Como referência histórica de Aída e seu período de composição - da encomenda à estréia no Cairo e Milão - nossa pesquisa busca o relato das correspondências entre Verdi e seus amigos e sua co-participação no libreto com Antonio Ghislanzoni. Com relação às vozes femininas, investigamos o detalhamento dos registros vocais em Verdi e particularidades da linha vocal das personagens Aída (soprano) e Amneris (mezzo-soprano) apresentando numa análise descritiva os trechos musicais em estudo de acordo com evolução do drama.

In recent years, the use of the cimbasso has gained popularity in Giuseppe Verdi opera performances throughout the world. In the past, the tuba or the bass trombone was used regularly instead of the cimbasso because less regard was given to what Verdi may have intended. Today, one expects more attention to historical precedent, which is evident in many contemporary Verdi opera performances. However, the tuba continues to be used commonly in performances of Verdi opera productions throughout the United States. The use of the tuba in the U.S. is due to a lack of awareness and a limited availability of the cimbasso. This paper demonstrates the pedagogical and aesthetic differences between the use of the tuba and the modern cimbasso when performing the works of Giuseppe Verdi operas.

This study of Verdi's choral style in the Manzoni Requiem includes an investigation of the bibliography pertaining to the subject, and a detailed study of the score to determine and verify the characteristics of each stylistic component, tabulating statistical material and listing examples demonstrating the various characteristics.