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Composers for the theatre in Australia : a biographical index with bibliography.Wood, Elizabeth. January 1970 (has links) (PDF)
Thesis (B.A.Hons.1971) - Dept. of Music, University of Adelaide.
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Egidio Duni and the development of the Opéra-Comique from 1753 to 1770Smith, Kent Maynard, January 1900 (has links)
Thesis (Ph.D.)--Cornell University, May, 1980. / Bibliography: leaves 335-348.
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Die buffoopern Baldassare Galuppis ein beitrage zur geschichte der italienischen komischen oper im 18. jahrhunderdert /Bollert, Werner, Unknown Date (has links)
Inaug.--diss.--Berlin. / Lebenslauf. Includes bibliographical references (p. 133-136) and index.
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'Le progres des arts' : Nicolas-Etienne Framery's contribution to late eighteenth-century musical and theatrical life in FranceDarlow, Mark January 2000 (has links)
No description available.
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Portfolio of compositions : Wilde - an opera in two actsWilliams, Derek Leslie January 2012 (has links)
Wilde:An Opera in 2 Acts. Play and Music by Derek Williams. Based on the writings and utterances of Oscar Wilde and his contemporaries.
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The Stage Works of Franz Schubert with an Analysis of FierrabrasCorse, Sandra 08 1900 (has links)
Performances of Fitrabras and the other Schubert operas have been very rare. Parts of Fierrabras were given in concert form in Vienna in 1853 and again in 1858. The first stage production was in Karlsruhe, February 9, 1897, but the music was revised for that performance by 0. Neitzel and the text by F. Mottl. The text was translated into French for a production in Brussels in 1926. A concert version was also heard in London in 1938.
None of these performances, with the possible exception of the one in Brussels, was in the original version. It has always been assumed that the work could not be performed as it stands; at any rate, no one has ever tried. True, there are certain problems in production, especially in the rapid shift of scenes in the third act, but modern stage technique could undoubtedly conquer such difficulties easily.
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Symbol and Motive in Debussy's Pelléas et MélisandeSimpson, Patrick L. (Patrick Lynton) 08 1900 (has links)
It is not by accident that virtually every important study of Debussy's life or works (including the recent and definitive biography by Edward Lockspeiser) has been made from a psychological viewpoint. The peculiar nature of the composer's art, resulting from his intimate ties with the French symbolist poets and his contacts with many other extra-musical influences, makes such an approach not only advantageous, but necessary.
In this brief study of Pelleas et Melisande, the composer's only completed music drama, an attempt will be made to trace these many and varied influences, correlate them with the composer's musical style, and thus arrive at a deeper understanding of the nature of this remarkable work, along with its place in the history of the music drama.
The actual study of the structure of the opera will give equal consideration to both the literary and the musical elements. As the unique quality of this work is grasped, the justification of such an approach will perhaps be verified.
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The Soprano Role in Handel's OperasWeir, Ida Elizabeth 01 1900 (has links)
The purpose of this study is to give some insight into the soprano role in Hgndel's operas in comparison to the other roles. From a total of forty operas written, thirty-eight have been published and will be considered in this thesis. There is a complete analysis of each soprano role, but only a few outstanding arias are discussed in detail. The study of the soprano role is preceded by a chapter on Handel's career, styles,and his operas today.
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The Concert Arias of Mozart for the Bass and Tenor VoicesSmith, Charles Temple 08 1900 (has links)
The concert arias of Mozart are probably among the least known works of this genius among composers, yet they
represent no small part of his musical output and are scattered throughout every period of his life. He composed a total of fifty-seven in all, the first when he was only nine years old and the last one in the final year of his life. Mozart's fifty-seven concert arias are divided among the four voice groupings as follows: one for alto, eight for bass, ten for tenor and thirty-eight for soprano. Of these soprano arias one (K. 569)l is lost and two (K. 307 and K. 308) are merely ariettas on French texts. It is with the eighteen arias for normal male voice that this discussion will be primarily concerned; arias for the castrati voice will not be considered.
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Catholic-liberal opera : outline of a hidden Italian musical romanticism /Cheskin, Jonathan Lee. January 1999 (has links)
Thesis (Ph. D.)--University of Chicago, Dept. of Music, June 1999. / Includes bibliographical references. Also available on the Internet.
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