Thesis (Ph. D.)--Columbia University, 1963. / Includes bibliographical references (leaves 288-291).

Inaug.-Diss.--Zürich. / Lebenslauf. "Benutzte literatur": p. [117].

Diss.--Frankfurt, 1996. / Bibliogr. p. 334-347. Index.

No description available.

Thesis (D.M.A.)--University of North Texas, 2001. / Includes bibliographical references (p. 155-160).

Several interpretations in performances, recordings, and publications of Giuseppe Verdi's Messa da Requiem raise issues concerning the relationship between these readings and the composer's intention. Understanding Verdi's tempo and phrasing in the Requiem is of crucial importance in rediscovering his intention. Knowing that Verdi's metronome markings were not merely performance suggestions but that they actually reflected his final decision is equally important. Unlike his operas, fast tempos are not introduced suddenly in the Requiem; rather, where tempo changes occur gradually from one section to the next, thereby maintaining the music's overall character. Verdi's phrasing is very subtle, and unconventional, because one sign may have multiple meanings. Compounding this complication are the many editorial errors in the published editions. David Rosen, in his critical edition, corrected many of these errors, and made additional editorial suggestions, but there are still numerous places where determining correct phrasing, as well as tempo fluctuations, knowledge of Verdi's use of signs and symbols is difficult.

Texte remanié de: Diss.--Bremen--Univ., 2001. / Bibliogr. p. 335-348.

No description available.

This thesis provides a brief history of opera as well as analysis of the operas of Giuseppe Verdi.

The Italian composer of operas, Giuseppe Verdi, relied heavily on plays of the Romantic Era as sources for opera librettos. Three such plays were from the Spanish Romantic School: El trovador and Simon Bocanegra by Antonio Garcia Gutierrez, and Don Alvaro o la fuerza del sino by Angel de Saavedra, el Duque de Rivas. The operas which Verdi composed using these plays as sources--Il trovatore, Simon Boccanegra, and La forza del destino--range in popularity from near zenith (Il trovatore) to near nadir (Simon Boccanegra). The study attempts to assess the suitability of the three Spanish dramas as source material for operas, and to determine if this suitability is correlated to each opera's popularity.