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.

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The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The second recital was given on April 16, 1984 and included works by Johann Sebastian Bach, Georg Phillip Telemann, Ruth Crawford Seeger, and August Klughardt. The third recital was given on September 16, 1985 and included works by Paul Hindemith, Jean Franpaix, and Gary Smart. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.

Ao retornar à Itália em 1942, após alguns anos no Brasil lecionando na Universidade de São Paulo, Ungaretti foi nomeado professor de literatura na Universidade de Roma. Apesar de alguns percalços posteriores relativos a tal nomeação, Ungaretti permaneceu na universidade até se aposentar, e alguns de seus alunos, assim como ocorreu no Brasil, acabaram por formar vínculos mais fortes com o poeta. Um desses alunos foi Leone Piccioni, filho de Attilio Piccioni, um dos fundadores do partido Democrazia Cristiana e mais tarde ministro e senador. Em 1945 Leone Piccioni, vindo da Universidade de Florença e portando uma carta de apresentação de Giuseppe De Robertis, encontrou-se com Ungaretti, quando então discutiram os possíveis temas da tesi di laurea de Piccioni. Foi a partir de então que Ungaretti e Piccioni começaram a trocar cartas. Ambos moravam em Roma e, embora se encontrassem com bastante frequência e sempre conversassem pelo telefone, Ungaretti sentia necessidade de escrever para Piccioni após ter refletido a respeito de alguma discussão. A correspondência teve início em julho de 1946 e terminou em maio de 1969 tendo Ungaretti morrido em junho de 1970. Essas cartas foram publicadas em um volume na Itália, Lallegria è il mio elemento, em 2013, e nos mostram um Ungaretti mais preocupado com a construção da sua carreira e da sua vida profissional. A análise dessas cartas nos traz novos elementos da vida de Ungaretti que contribuem para uma compreensão mais aprofundada do poeta e de sua obra. Assim, o objetivo deste trabalho é selecionar, traduzir e contextualizar cartas constantes de tal volume, apresentando quatro aspectos da construção da sua persona pública e profissional que se sobressaíram dessa análise: a chiara fama (ou notório saber), a busca pelo Nobel, o poeta injustiçado e o poeta festejado. / After returning to Italy in 1942, having spent a few years in Brazil teaching at University of São Paulo, Ungaretti was appointed professor of literature at University of Rome. Despite some later obstacles related to such appointment, Ungaretti remained at the University until his retirement, and some of his students, as in Brazil, ended up by creating stronger bonds with the poet. One of these students was Leone Piccioni, son of Attilio Piccioni, one of the founders of the party Democrazia Cristiana, and later minister and senator. In 1945 Leone Piccioni, coming from University of Florence and having a letter of introduction from Giuseppe De Robertis, met Ungaretti to discuss possible subjects of Piccionis tesi di laurea. It was from then on that Ungaretti and Piccioni started to write each other. Both lived in Rome and, though they often met and always talked on the phone, Ungaretti felt the need of writing to Piccioni after having considered some discussion they had. The correspondence started in July 1946 and ended in May 1969, having Ungaretti died in June 1970. These letters were published in Italy in a book called Lallegria è il mio elemento, in 2013, and show us an Ungaretti that is more concerned with the development of his career and professional life. The analysis of these letters gives us new elements of Ungarettis life that contribute to a deeper understanding of the poet and his work. Thus, the purpose of this work is to select, translate and provide the context of letters included in such book, presenting four aspects of the construction of his public and professional persona that stood out in this analysis: chiara fama (widely recognized erudition), search for the Nobel prize, the wronged poet and the celebrated poet.

L’objectif de cette recherche est d’étudier les forces de l’ordre siciliennes pendant la dictature garibaldienne de 1860, pour montrer comment l’île a été concrètement administrée par les chemises rouges dès la libération de Palerme. Il s’agit donc de saisir les traces de continuité ou de discontinuité en matière de contrôle territorial, d’ordre public et de police dans la région, au moment de la construction du nouvel État italien. L’effondrement du régime bourbonien dans l’île, causé par la nouvelle « révolution » sicilienne, laissa le pays dans une profonde crise politique et sociale. Il ne s’agissait pas seulement d’assurer le contrôle de l’espace et de l’ordre public, mais aussi d’établir et de légitimer un nouvel équilibre social et politique afin de s’assurer le soutien des élites siciliennes, tout en les inscrivant dans une perspective nationale : un défi majeur, qui obligea l’exécutif garibaldien à dépasser la simple dimension militaire pour envisager des pratiques de gouvernement inédites. Dans cette thèse, il s’agit donc de relire l’histoire de la dictature garibaldienne à partir de ses institutions policières, prisme multiforme pour saisir la complexité de la réalité sicilienne. Le résultat de ce travail de recherche propose de nouveaux éléments utiles pour comprendre, d’un point de vue différent par rapport aux études antérieures, le moment clé de l’Unification italienne. / This research focuses on the Sicilian police during the Garibaldian dictatorship of 1860 and analyses how the “red shirts” ruled the island. The goal of this work is to retrace continuities and discontinuities of local control, public order and police service during the construction of the modern Italian state. The new Sicilian revolution brought about the collapse of the Bourbon regime in Sicily and the beginning of a deep social and political crisis all over the country. Therefore, the main goal of the local administration was to guarantee public order and respect for the law. In order to gain the support of local elites, the administration had to achieve a new social and political balance based on a national outlook. New practical instruments to rule the country were developed alongside existing military ones. This thesis provides a different interpretation of the history of the Garibaldian dictatorship through the “police prism”, in an effort to understand the complexity of the Sicilian context. In the end, this work underpins new elements that are useful to grasp the key moment of the Italian Unification and suggests a different interpretation of this phenomenon compared to the traditional analysis of the subject.

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.

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This examination essay is a study of the aria Ritorna vincitor! from the opera Aida by composer Giuseppe Verdi. The aim of this study is to address the vocal and interpretational questions that may arise while learning the aria. My work with this essay has included searching for information about Verdi, the opera Aida and the cultural, political and musical climate wherein the opera was born. I have also watched the opera and listened to several versions of the aria. I concentrated especially on the interpretations of Mirella Freni, Leontyne Price and Maria Callas. I also created a musical analysis of the aria. Throughout the process of writing this essay I have kept in my mind my own perspective as a singer. I have formed my study from the information I find useful in the process of approaching a new piece of music. The process of writing this essay has provided me with a lot of insight into the musical ideals and ideas behind Verdi’s work. Writing this essay made me aware of the dilemma of fulfilling the vocal expectations of the tradition and at the same time interpreting the drama convincingly. I have found a lot of useful material for a singer’s artistic development and all that I have learned will certainly come into use in my future vocal studies.

Thesis (D.M.A.)--Ohio State University. / Includes bibliographical references (leaves 122-125). Available online via OhioLink's ETD Center.