Thesis--State University of Iowa. / Vol. 2 contains a full score and an arr. for piano and horn of Stich's Concerto, no. 6. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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Giovanni Paisiello's Barber of Seville, although no longer an opera that is frequently performed, was very popular in the eighteenth and early nineteenth centuries. Based on a play by Pierre-Augustin Caron de Beaumarchais, Le barbier de Seville (1775), was translated into many different languages, and performed by companies all over Europe and America. Paisiello's work was so successful that Mozart, inspired by the idea, wrote a sequel in 1786, The Marriage of Figaro in collaboration with Da Ponte. When Rossini presented his own version of Barber of Seville in Rome in 1816, the public hissed with indignation and outrage to demonstrate a predilection for Paisiello. Giovanni Paisiello (1740 - 1816) was a Neapolitan composer who worked at St. Petersburg, Russia from 1776 - 1784 in the court of Catherine II where he was appointed Kapelmeister of Italian opera. The composer chose the French play by Beaumarchais as his point of departure, having it adjusted and rewritten in Italian verse in order to please his patroness. Due to the restrictions set upon the duration of the spectacle and the subject matter, the comedy was shortened and its socio-political critique eliminated. Thus Le barbier de Seville, which the Empress essentially considered democratizing and harmful to the absolute monarchy, was transformed into an opera buffa, Il barbiere di Siviglia, that involved harmless clowning. Il barbiere is significant because its creation demonstrates how Italian opera buffa became a vehicle to distract the public from considering the issues that were in the air prior to the French Revolution. This thesis examines the many contradictory factors involved in allowing this sort of entertainment at the Imperial Court. The study explores Catherine the Great and her character, as well as her clever ability to maintain a successful image as an Enlightened Despot. The differences and similarities between the French play and the Italian libretto are surveyed in order to demonstrate the simplifications that had to be made. A discussion treating the shift of focus that resulted by moving attention away from Figaro toward Dr. Bartholo, will indicate how the play was transformed into a libretto which proved to be emasculated and irregular. The music and how the composer dealt with the text will be discussed. Paisiello's buffo characterization of the old miserly doctor will be considered through use of musical examples. Additionally, the composer's setting of ensembles will be examined given their particular prominence in this work. The use of unifying elements will also be surveyed. The ideas of the era of Enlightenment affected both the bourgeoisie and the aristocracy. However, each group interpreted education and rationalism in its own way. While the members of the middle class attempted to change the structure of society (ancien regime), the authorities needed to maintain it. Through Italian opera buffa, however, both seemed to find the middle ground for compromise. It was acceptable because it was musical theatre that was made to appear harmless.

In this study I attempt to provide a critical-exegetic reading of Giovanni Boccaccio's Filocolo: critical, because my point of departure is a problem---the insistent, puzzling repetition, on the part of the various characters, of the same story, the story of Florio and Biancifiore; exegetic, because my purpose is to arrive at a global interpretation of the work. / It is my contention that, first, every version of the story appears to be dictated by the purpose of informing the 'ignorant'---namely those unaware of how events truly unfolded---in order to complete a narrative that, from beginning to end "interamente si contenga;" second, that this repetition ensures the unity of the work as a whole. Moreover, the gradual process leading to full information runs parallel, I believe, to the gradual process of Florio's coming of age, from his fallacious "imagining" to his acquisition of "real knowledge." With my interpretation I wish to shed light on one aspect of Boccaccio's poetics, that is, the way he opposes his full, well-founded and consistent account to the "fabulosi parlari degli ignoranti." / On a quite different level, the repetition of the same story can be linked to Boccaccio's penchant for experimenting with the art of storytelling. / I have followed throughout the text of the Filocolo leaving aside, however, Book I, which concerns the parents of the two lovers and is essentially just a premise to the story. The division of my dissertation in four chapters reflects the two distinct phases that, in my opinion, characterize the narration: the 'outward journey' (Chapters I--III) and the 'return journey' (Chapter IV). In Chapter II I deal with the much discussed episode of the Questioni d'amore, that takes place in Naples during a pause in the outward journey. In the Appendix I analyze the phenomenology of death, both actual and 'verbal,' which allows me to explore further the character and personality of Florio and Biancifiore.

Thesis (M.M.)--University of Rochester, 1948. / Typewritten. Bibliography: p. 91. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4558

Thèse (M.A.)--Université Laval, 2007. / Bibliogr. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Mémoire (M.A.) - Université du Québec à Trois-Rivières, 2002. / Bibliogr.: f. [86]-97.

Thesis--State University of Iowa. / Vol. 2 contains a full score and an arr. for piano and horn of Stich's Concerto, no. 6. Includes bibliographical references. Also issued in print.

Issued also as Inaug. Diss. Mainz. / Bibliography: p. [151]-153.