Relevant bibliographies by topics / Benjamin Britten

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  2. Dissertations / Theses
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Academic literature on the topic 'Benjamin Britten'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Benjamin Britten"

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Rudnick, Tracey, Michael Oliver, and Peter J. Hodgson. "Benjamin Britten." Notes 54, no. 1 (September 1997): 92. http://dx.doi.org/10.2307/899964.

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Law, Joe K. "Benjamin Britten Times Three." Opera Quarterly 11, no. 1 (1994): 168–73. http://dx.doi.org/10.1093/oq/11.1.168.

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McKee, David. "Peter Grimes. Benjamin Britten." Opera Quarterly 11, no. 3 (1995): 193–96. http://dx.doi.org/10.1093/oq/11.3.193.

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Law, J. K. "Peter Grimes. Benjamin Britten." Opera Quarterly 13, no. 1 (January 1, 1996): 97–99. http://dx.doi.org/10.1093/oq/13.1.97.

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Law, J. K. "Billy Budd. Benjamin Britten." Opera Quarterly 16, no. 1 (January 1, 2000): 153–56. http://dx.doi.org/10.1093/oq/16.1.153.

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Law, J. K. "Billy Budd. Benjamin Britten." Opera Quarterly 17, no. 4 (January 1, 2001): 777–80. http://dx.doi.org/10.1093/oq/17.4.777.

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Law, Joe K. "Paul Bunyan. Benjamin Britten." Opera Quarterly 7, no. 1 (1990): 201–4. http://dx.doi.org/10.1093/oq/7.1.201.

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Law, Joe K. "Noye's Fludde. Benjamin Britten." Opera Quarterly 7, no. 3 (1990): 181–82. http://dx.doi.org/10.1093/oq/7.3.181.

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McKee, David. "Billy Budd. Benjamin Britten." Opera Quarterly 8, no. 1 (1991): 112–14. http://dx.doi.org/10.1093/oq/8.1.112.

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Terry, Sarah. "Collaboration as Communication in the Works of W. H. Auden and Benjamin Britten, 1935–1941." Modernist Cultures 14, no. 1 (February 2019): 70–87. http://dx.doi.org/10.3366/mod.2019.0241.

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W. H. Auden and Benjamin Britten's 1941 opera Paul Bunyan marked the most public production of their almost decade-long collaborative relationship. Like the song settings that preceded it, the opera highlights the influence of Britten on Auden's aesthetic regarding musical and literary collaborations. This article argues that the poems Auden dedicated to Britten, and that Britten subsequently set to music, establish collaboration as a form of communication through which Auden challenges Britten to respond to public statements he has made about Britten's sexuality – trying to coerce him to bring private sentiments into the open. Without the Britten material, much of what would be known of Auden's engagement with music would come from the essays he wrote about music in the 1960s, thirty years after this first major musical collaboration. Despite the fact that Auden's own account of the relation between words and music later shifted toward an aesthetic in which words must be subordinate to music, particularly in operatic works, in his work with Britten, Auden explored more fluid and indirect forms of collaboration. In fact, their direct collaborative relationship evolved out of mutual admiration for the products of their initial, indirect collaborations.
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Dissertations / Theses on the topic "Benjamin Britten"

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Allen, S. A. "Benjamin Britten and Christianity." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:2b2e1ae0-2845-46df-96fb-7dc704d11e10.

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It will be demonstrated, in conclusion, that in art as in life, the contingencies Britten imposed upon the Christian element are ultimately displaced by other 'non-Christian' elements related to the Classical paradigm.
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Kývalová, Eva. "Benjamin Britten - The Poet's Echo." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391665.

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In this thesis I focused on song cycle written by english composer Benjamin Britten The Poet’s Echo, which is based on poems by russian writter Aleksander Sergeyevich Pushkin. Benjamin Britten dedicate his song cycle to his close friends Galina Vishnevskaya and Mstislav Rostropovich, who performed this piece on premiere performance in Moscow. The purpose of my contribution was to outline the background of the admirable work, introduce all key persons interested in the piece and mapping of lyrics and music view in general in this cycle.
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Elliott, Graham. "Benjamin Britten : the things spiritual." Thesis, Bangor University, 1985. https://research.bangor.ac.uk/portal/en/theses/benjamin-britten--the-things-spiritual(c1860d2b-6f58-48a3-8b34-6f97cac14e7c).html.

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Since Benjamin Britten's death in 1976, a number of commentaries have been published on his life and work. Most of them observe the facts of Britten's deeply-felt pacifism, and his homosexuality. It has been suggested that Britten felt himself to be outside 'normal' society, and that this accounts for his obvious sympathy for the 'outsider' in his operas. Although this is undoubtedly an important aspect of Britten's total make-up, the present thesis seeks to show that he was concerned with very much more universal concerns, which are frequently to be seen as having a strong spiritual dimension. Part I examines Britten's early life and the strong presence which the Church had in his childhood and adolescence. It shows the way in which certain spiritual influences were first manifested in his life; and which, like the more specifically musical 'themes' which Donald Mitchell has noted, are capable of being traced through Britten's life. Part I includes comment from two churchmen who were influential in Britten's life, as well as a chapter devoted to the observations of Sir Peter Pears. Part II examines a wide range of the composer's music which can be seen to have a spiritual dimension. The specifically liturgical music forms a relatively small part of Britten's output, and it has not received wide critical notice in the way that the large-scale works have done. This music is examined here, and it is shown to possess important musical characteristics in common with the bigger works. The four chapters headed 'Parable Music' examine a wide range of Britten's works (including some of the operas) which can be seen to have a spititual dimension. Britten could not be described as a conventional Christian; still less is it true to describe him, as Eric Walter White has done, as "keen, wherever possible, to work within the framework of the Church of England", but his spirituality was strongly rooted in the religious experiences of his childhood. This thesis seeks to show that Britten retained a sense of the Christian values absorbed in childhood and adolescence, and that these - along with the specifically Christian heritage of plainsong - were strongly influential in his choice and treatment of themes throughout his career.
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McKellar, Shannon Colwyn. "Institutional voices : five Britten operas." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267084.

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Mark, Christopher. "Early Benjamin Britten : a study of stylistic and technical evolution /." New York ; London : Garland, 1995. http://catalogue.bnf.fr/ark:/12148/cb35855097w.

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Cooke, Mervyn John. "Oriental influences in the music of Benjamin Britten." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328445.

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Batista, Ricardo Casquinho. "A problemática interpretativa do nocturnal de Benjamin Britten." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/11857.

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O objeto de estudo deste trabalho é a peça para guitarra solo, Nocturnal after John Dowland, op. 70, de Benjamin Britten. O trabalho consistirá em dois tipos de análise: uma estrutural e outra interpretativa, no qual é baseada em quatro gravações da peça em questão. O trabalho é constituído por quatro capítulos. Começando com uma breve introdução acerca do tema; depois no II capítulo vamos ter as biografias do Britten e do Dowland e as breves histórias de Come Heavy Sleep e de Nocturnal after John Dowland, op. 70. O III capítulo será exclusivamente dedicado à análise estrutural e à análise interpretativa do objeto de estudo, com base em quatro gravações da obra. A seguir, temos o IV capítulo onde será feita a conclusão do trabalho; ### ABSTRACT: The problematic interpretation of Benjamin Britten´s Nocturnal The object of study of this paper is a piece for solo guitar called Nocturnal after John Dowland, op. 70, by Benjamin Britten. This paper consists of two types of analysis: a structural one and an interpretative one, which is based in four recordings of the previously mentioned piece. The paper is comprised of three chapters. It starts with a small introduction regarding the subject; the first chapter refers to the biographies of Britten and Dowland, as well as the small backstories of Come, Heavy Sleep and Nocturnal after John Dowland, op. 70. The second chapter is exclusively dedicated to the structural and interpretative analysis of the object of study, based on four recordings of the original piece. A decoding of each original melody is done structurally. A comparison is made, regarding the interpretation, showing the advantages and disadvantages of each recording. Finally, chapter three marks the conclusion of the paper.
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Frackenpohl, David J. (David John). "Analysis of Nocturnal op. 70 by Benjamin Britten." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500442/.

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Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the preceding analyses, discussing the large-scale unfolding of the form in Nocturnal.
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Moravec, Filip. "Benjamin Britten - Noctural after John D owland Op. 70." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156080.

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The aim of my Diploma Thesis " Benjamin Britten - Noctural after John Dowland Op. 70 is to describe one of the most important pieces for solo guitar of the twentieth century. First, I deal with the personality of the composer of the piece and of the original. I also mention all of circumstances of this composition. I analyze the work from many perspectives - contextual, technical and interpretational. Then I present my own interpretation. At the end of the diploma thesis I deal with the first recording of the Noctural Op. 70.
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Beard-Stradley, Cloyce (Cloyce May). "A performer's analysis of Benjamin Britten's Phaedra, dramatic cantata for mezzo soprano and small orchestra, op. 93: a lecture recital, together with three recitals of selected works of H. Purcell, R. Schumann, R. Vaughan Williams, P. Tchaikovsky, G. Fauré, K. Löwe, G. Menotti, S. Barber and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935558/.

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A little-known chamber work by Benjamin Britten is the dramatic cantata Phaedra, op.93, for mezzo-soprano and small orchestra. Among his chamber works, the solo cantata was a musical form used only once by Britten, thus making Phaedra unique among Britten's oeuvre. Britten chose a genre that flourished in the seventeenth and eighteenth centuries the cantata - as a vehicle for the story of Phaedra. He employs clear allusions to Baroque music in Phaedra by the use of harpsichord and continuo in the recitatives, ornamentation, and word painting. The text for Britten's setting of Phaedra is a translation of Jean Racine's Phedre by the American poet Robert Lowell. From Lowell's complete play, Britten extracted Phaedra's key speeches that deal with her three confessions of incestuous love for her stepson, Hippolytus. These monologues are set in a series of recitatives and arias that make up the entirety of this chamber cantata. In order to gain complete understanding of Phaedra, this document will begin with an investigation into the historical background of Racine's Phedre and the conventions of French tragedy from which it arose. Lowell's translation method will then be explored in comparison to Racine's play. In turn, Britten's extractions from Lowell's translation will be examined. Further, the baroque elements of the cantata and the compositional ideas inherited by Britten from Henry Purcell will be included. Finally, there will be an inspection of the character of Phaedra and Britten's interpretation through orchestration and melodic choices. Investigation into the background of Phaedra's character through Racine's play and Lowell's translation along with Britten's dramatic interpretation through music is necessary for complete comprehension of her mental state and underlying thoughts in order to bring about an emotionally accurate portrayal of the role. Britten himself labeled Phaedra a "dramatic cantata." Therefore, the drama and its text-musical relationships must be uncovered.
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Books on the topic "Benjamin Britten"

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Benjamin Britten. Palermo: L'epos, 2013.

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Bassi, Adriano. Benjamin Britten. Milano: Targa italiana, 1989.

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Britten. London: Haus, 2003.

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A Benjamin Britten discography. Lewiston: E. Mellen Press, 1990.

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Carpenter, Humphrey. Benjamin Britten: A biography. New York: C. Scribner's Sons, 1992.

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Cooke, Mervyn. Benjamin Britten, Billy Budd. Cambridge [England]: Cambridge University Press, 1993.

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Benjamin Britten: A biography. London: Faber and Faber, 1992.

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Carpenter, Humphrey. Benjamin Britten: A biography. London: Faber & Faber, 1993.

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Tuchowski, Andrzej. Benjamin Britten: Twórca, dzieło, epoka. Kraków: Musica Iagellonica, 1994.

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Evans, Peter. The music of Benjamin Britten. London: Dent, 1989.

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Book chapters on the topic "Benjamin Britten"

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Ermen, Reinhard. "Benjamin Britten." In Oper im 20. Jahrhundert, 494–507. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03796-1_20.

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Hinton, Stephen. "Britten, Benjamin." In Metzler Komponisten Lexikon, 98–100. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_34.

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Ahrend, Thomas. "Britten, (Edward) Benjamin." In Komponisten Lexikon, 78–80. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_34.

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Schulz, Reinhard. "Edward Benjamin Britten." In Kammermusikführer, 115–19. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_17.

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Montgomery, Alan. "Benjamin Britten and Other Modern Composers." In Opera Coaching, 126–29. Second edition. | New York : Roiutledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-24.

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Wilson-de Roze, Karen. "Chapter 4. Have English translations of Wagner’s Ring of the Nibelung, an icon of German culture, been affected by the changing relationship between Germany and Britain in the twentieth century?" In Benjamins Translation Library, 53–78. Amsterdam: John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/btl.140.04wil.

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Hess-Lüttich, Ernest W. B., and Susan A. Liddell. "Medien-Variationen. Aschenbach und Tadzio in Thomas Manns “Der Tod in Venedig”, Luchino Viscontis “Morte a Venezia”, Benjamin Brittens “Death in Venice”." In Code-Wechsel, 27–54. Wiesbaden: VS Verlag für Sozialwissenschaften, 1990. http://dx.doi.org/10.1007/978-3-322-89575-2_2.

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"BRITTEN, BENJAMIN." In Music in the 20th Century (3 Vol Set), 89–90. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-62.

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"Benjamin Britten." In Masterworks of 20th-Century Music, 112–30. Routledge, 2013. http://dx.doi.org/10.4324/9780203616949-7.

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"BENJAMIN BRITTEN." In The Classical Music Lover's Companion to Orchestral Music, 136–44. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.14.

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Conference papers on the topic "Benjamin Britten"

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Cojocaru, Daniela. "THE MYTHOLOGICAL CHARACTERS FROM OVID�S METAMORPHOSES IN BENJAMIN BRITTEN�S PERSPECTIVE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s24.018.

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Kudoyarov, Rustem. "Benjamin Britten's Piano Concerto in the Context of the Composer's Creative Connections with Russian (Soviet) Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.169.

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