Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug.-Diss.--Cologne. / Vita. Bibliography: p. 232-247.

Thesis (Ph. D.)--University of Michigan, 1956. / Vol. 2 includes the Italian text with parallel English translation. Typescript. Includes bibliographical references (v. 1, leaves 295-304).

Thesis (Ph. D.)--University of Michigan, 1956. / Vol. 2 includes the Italian text with parallel English translation. Typescript. Includes bibliographical references (v. 1, leaves 295-304).

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: David Holley; submitted to the School of Music. Includes bibliographical references (p. 83-88)

No description available.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. 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. / 2031-01-02

abstract: ABSTRACT The purpose of this research project is to provide participants with a personal experience in opera, to change their perceptions and provoke further interest in the art form. By introducing community opera into a society, we can educate and perhaps expand the acceptance of opera in a population. This document uses The Survey of Public Participation of the Arts by the National Endowment for the Arts in order to provide an accurate account of the declining attendance of opera. Only through education and exposure can we improve opera attendance. In order to create opera appreciation the researcher introduced an applicable opera performance situation in a small community. The process in which the opera was implemented has been evaluated and separated into the following eight components: preparation, rehearsal, set construction and props, pamphlets, budget, advertising, dress rehearsal, and performance. Each will be considered separately. The benefits of that community program and the process in which the opera took place are included in this research. / Dissertation/Thesis / D.M.A. Music 2012

abstract: This research paper recounts the work done in founding an opera company and putting on its inaugural show. It also provides some of the insights acquired during the process, which may be helpful for other future opera producers in creating a framework and guideposts for starting their own companies. The paper consists of two main sections followed by several short appendices. The first section methodically reconstructs the process by which Windy City Opera's La Bohème was brought to the stage. It covers the background experiences that prompted the author to found her own company, the research and decisions involved, and the interplay between the company's overall goals and the resources available for a first production. The business, casting, rehearsing, and marketing aspects are reviewed in detail, as well as several mistakes that were made during the process that afforded valuable learning opportunities. The second section follows up on these and other opportunities by sketching an ideal plan that opera startups might follow; the principal topics are timeline, budgeting, fundraising, venue selection, personnel selection, and marketing. The appendices consist of worksheets and materials meant to illustrate and supplement this written how-to guide, as well as a video of the Windy City Opera production of La Bohème. / Dissertation/Thesis / Appendix B - Budget Worksheet / Appendix C - Artist Contract Template / Appendix M - La Bohème - Video / Doctoral Dissertation Music 2016

Haydn's thirteen extant Esterhazy operas, composed from 1762-85, represent a microcosm of the various trends in Italian opera during the eighteenth century. His early operas illustrate his understanding and mastery of the opera seria, the intermezzo and the opera buffa traditions which he would utilize in his later drammi giocosi. In addition to his role as Kapellmeister Haydn adapted and conducted over eighty-one operas by the leading Italian composers of his day, resulting in over 1,026 operatic performances for the period between 1780-90 alone and furthering his knowledge of the latest styles in Italian opera. This dissertation examines the five drammi giocosi which Haydn wrote, beginning with Le pescatrici (1769) through to La fedelta premiata (1780), within the context of the dramma giocoso tradition. To fully understand this tradition, as well as Haydn's compositional style, the comic and serious genres are analysed first since they are the basis for the dramma giocoso. All these operas not only represent Haydn's development as an opera composer, but serve to exemplify the general changes in eighteenth-century Italian opera. Haydn is seen as an important part of this tradition, both as a borrower and as an innovator. In the first two drammi giocosi, Le pescatrici and L'incontro improvviso (1775), the characters are portrayed as stock character types and the structure of the libretto generally adheres to the separation of serious and comic characters. In these works Haydn follows the musical conventions for each character type with only slight deviations. It is in the last three drammi giocosi, Il mondo della luna (1777), La vera costanza (1778/79 and 1785) and La fedelta premiata that the characters are musically portrayed as multi-dimensional personalities with many belonging to the category of the mezzo carattere. The structure of the libretto is more realistic, no longer strictly following earlier formulas and contains social commentary with explicit criticism of the upper class. Through musical analysis Haydn is shown to be the consummate musical dramatist, as he both follows and subverts the tradition, while observing the exigencies of the libretto. / Graduate