Dissertations / Theses: '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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Desblache, Lucile Bayer Francis. "Autour d'Albert Herring : recherches sur l'expression de l'humour dans la musique vocale et lyrique de Benjamin Britten /." [Paris] : [L. Desblache], 1987. http://catalogue.bnf.fr/ark:/12148/cb40025218q.

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Salfen, Kevin. "Myth in early collaborations of Benjamin Britten and William Plomer." connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/salfen%5Fkevin%5Fmcgregor/index.htm.

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Beier, Sarah-Lisa [Verfasser]. "Benjamin Britten als Friedenskomponist : Perspektiven zur Musikvermittlung / Sarah-Lisa Beier." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1144802539/34.

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Perkins, Anna Grace. "Expanded perceptions of identity in Benjamin Britten's Nocturne, op. 60." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6064.

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Weber, Michael James. "Benjamin Britten's "The Company of Heaven"." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185097.

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Benjamin Britten was commissioned by the BBC to write music for a radio broadcast on Michaelmas (September 29) in 1937. This was to be Britten's second work in the field of radio incidental music and in contrast to many earlier BBC radio programs he was the only composer for the Michaelmas broadcast. The document concentrates on the musical content of the eleven movements of The Company of Heaven, the source of the spoken and sung texts assembled by Richard Ellis Roberts, the compositional techniques found in select works written by Britten from 1930-1937 that influenced the content of The Company of Heaven, and the influence that The Company of Heaven had on subsequent select composition during the next ten years.

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Stroeher, Vicki Pierce. "Form and Meaning in Benjamin Britten's Sonnet Cycles." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935804/.

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This study examines the relationship between sonnet form and musical form in Benjamin Britten's sonnet cycles with a view toward identifying the musico-poetic form how the musical form interprets the poetry. Several issues come to the fore: 1) articulation of the large-scale divisions of the poetic form in the music; 2) potential of the musical setting to make connections between lines of the text ; 3) potential of the musical setting to follow or imitate the thought processes of the poem; and 4) placement of the departure and return.

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Bosch, Delgado Marcos. "The Rescue de Benjamin Britten: el último eslabón hacia Peter Grimes." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/381069.

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Peter Grimes, la primera ópera del compositor inglés Benjamin Britten, fue reconocida desde su estreno en 1945 como una obra maestra, incorporándose de manera inmediata al circuito internacional. Con esta obra, la tradición operística moderna del Reino Unido resurge finalmente después de numerosos intentos. La Tesis que aquí se presenta nace de mi asombro ante el acierto del compositor en su primera incursión operística, hecho altamente infrecuente incluso en el caso de compositores eminentemente operísticos como fueron Mozart, Verdi o Puccini. De ahí que busque explicar en qué medida las obras instrumentales y vocales del compositor inglés ya anticipan al operista y cómo se fue preparando en su producción anterior para dar el salto al género lírico. Mi investigación examina en qué sentido la obra de Britten anterior a Peter Grimes resulta ser un laboratorio para el futuro compositor de ópera, al presentar notables rasgos dramático-escénicos. Con tal propósito propongo una explicación del concepto de dramatismo musical, antes de abordar el estudio de obras importantes de Britten de principios de los años 40, en particular la Sinfonia da Requiem (1941). Centro a continuación mi atención en el drama radiofónico The Rescue (1943), verdadero núcleo de la investigación abordada en la Tesis. Basada en un libreto de Edward Sackville-West y producida por la BBC, The Rescue constituye la última obra de envergadura antes de Grimes y, sin duda, la culminación de la dedicación de Britten a la música incidental. Además de investigar las circunstancias de su producción, así como su relación con la ópera de Monteverdi Il ritorno d’Ulisse in patria, pongo de manifiesto el carácter cuasi operístico de The Rescue, tanto a nivel textual como musical. En este sentido, The Rescue se puede interpretar como el último ensayo del compositor antes de acometer Peter Grimes. Si, como señalo, la dedicación incidental de Britten le permite familiarizarse con aspectos importantes del estilo operístico, también muestro cómo el dominio de los recursos técnicos y discursivos de la radio y del cine documental fueron asimismo incorporados de manera original en algunas de sus óperas más importantes. Por otra parte, he puesto especial empeño en resaltar la figura de Sackville-West, crítico y escritor, amigo y consejero de Britten a su vuelta a Inglaterra en 1942, cuya importancia no ha sido hasta ahora lo suficientemente valorada en la literatura britteniana. La consulta directa del autógrafo de The Rescue, conservado en los archivos de la Britten-Pears Foundation, me llevó a descubrir que importantes fragmentos de la obra no habían sido incluidos en la versión de concierto de de Souza (The Rescue of Penelope). En la Tesis se presentan por primera vez dichos fragmentos, así como una selección de la correspondencia hasta ahora inédita entre Britten y Sackville-West. Es la lectura de esta correspondencia, que arroja nueva luz sobre la relación entre ambos, la que me llevó a redescubrir Ithaque délivrée, la versión francesa de The Rescue, actualmente olvidada. Del conjunto de la presente investigación se desprende la imagen de un compositor que, a pesar de su virtuosismo técnico, sabe ponerse a sí mismo a prueba de manera progresiva antes de acometer la que se mantendrá como su ópera más popular y valorada.
Peter Grimes, the first opera of the English composer Benjamin Britten, was recognised as a masterpiece from its release in 1945, and immediately joined the international circuit. With this work, the modern opera tradition of the United Kingdom finally re-emerged after several attempts. The thesis here presented arose from my astonishment at the composer’s mastery and talent at his first opera undertaking, a rare event, even in the case of major opera composers such as Mozart, Verdi or Puccini. My aim is thus to explain to what extent Benjamin Britten’s instrumental and vocal works anticipate the opera composer and how his previous production prepared him for the jump into the lyric genre. My research examines in what sense Britten’s work previous to Peter Grimes proves to be a laboratory for the future opera composer, given its significant dramatic-scenic characteristics. For this purpose, I develop an explanation of the concept of musical dramatic quality, before studying Britten’s important works of the 40s, especially the Sinfonia da Requiem (1941). I then focus on the radio drama The Rescue (1943), the true core of the research here presented. Based on a libretto by Edward Sackville-West and produced by the BBC, The Rescue is considered to be his last major work before Grimes and undoubtedly represents the culmination of Britten’s dedication to incidental music. After researching its production circumstances, as well as its relationship to Monteverdi’s opera Il ritorno d’Ulisse in patria, I highlight the quasi-operatic character of The Rescue, on both textual and musical levels. In this sense, The Rescue can be considered the composer’s last rehearsal before undertaking Peter Grimes. While it is true that Britten’s dedication to incidental music enables him to become familiar with important aspects of the operatic style, I also show how his mastery of technical and discursive resources of the radio and documentary cinema were also incorporated in an original manner in some of his most important operas. Particular emphasis is given to the figure of the critic and writer Sackville-West, Britten’s friend and counsellor at his return to England in 1942, and whose importance has not been sufficiently valued in Britten’s studies. The direct consultation of The Rescue autograph, preserved in the archives of the Britten-Pears Foundation, led me to discover important fragments of the radio drama that were not included in the concert version of de Souza (The Rescue of Penelope). In The Thesis, these fragments are presented for the first time, together with a selection of the so far unpublished correspondence between Britten and Sackville-West. This correspondence sheds new light on the relationship between both men, and it enabled me to discover Itaque délivrée, the French version of The Rescue, now forgotten. Throughout the research here presented, what stands out is the image of a composer who, despite his technical virtuosity, knows how to set himself to the test before undertaking what will remain as his most popular and appreciated opera.

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Vermeulen, Karen. "Musikale karakterisering in Benjamin Britten se opera Billy Budd / Karen Vermeulen." Thesis, North-West University, 2006. http://hdl.handle.net/10394/927.

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Musical characterisation plays an important role in Britten's operas. The aim of this study was to determine how Britten depicts the diverse, dualistic characters in Billy Budd through music. Ambiguity, which is characteristic of this opera, is the result of the manner in which the plot is portrayed musically through developing motives. The conflict between the diverse characters in Billy Budd is depicted by the thematic material. The musical ideas and motives change as the plot becomes more complex. The method of investigation was, in the first instance, to analyse the musical ideas associated with each character. Second, the manner in which these ideas change through the course of the opera was pointed out. The story does not only concern itself with the relationship between good and evil. The fate of the three main characters, Billy, Vere and Claggart, is precisely the opposite of their true nature. Who they really are, is not reflected in their doings, as depicted by the integrated themes. Billy, the innocent boy, kills. Vere, the father figure, doesn't protect Billy on the day of his conviction. Claggart, who manipulates to have his own way, can't avoid his own death. This study shows that Billy is represented by the stammer figure and Vere by the "Starry Vere" motive. Vere's inner conflict is depicted by the ambiguous combination of a major third and minor third interval. The confusion that eventually leads to Billy's demise is represented by intervals of a perfect fourth, associated with Claggart. During the course of the opera, Vere's music is infiltrated by Claggart's motives. Billy is represented in the opera by the woodwind instruments, Vere by the strings and Claggart by the brass instruments.
Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2006.

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Py, Maéna. "Littérature scène et musique dans les œuvres scéniques de Benjamin Britten." Thesis, Tours, 2009. http://www.theses.fr/2009TOUR2020.

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Les opéras de Benjamin Britten témoignent de l’engagement de leur auteur pour le renouveau de la scène et de la dramaturgie au XXe siècle. Par son travail avec l’avant-garde théâtrale (musique de scène, drame radiophonique, musique pour films documentaires), Britten a su se nourrir des innovations marquantes du début du siècle, se révélant alors un formidable passeur des théories et esthétiques dramatiques de cette période. Si ses oeuvres lyriques sont le lieu où cet apprentissage est mis en pratique, elles proposent et expérimentent également de nouvelles dramaturgies scéniques. La dramaturgie brittenienne n’a pas laissé le public indifférent : vivement appréciée des grands metteurs en scène européens, elle bouscula les Français dans leurs habitudes et leurs a priori face à la musique anglaise
Benjamin Britten’s operas are witness to their author's commitment to a renewal of the stage and dramaturgy in the 20th century. Through working with the theatrical avant-garde (stage music, radio dramas, music for documentary films), Britten knew how to take advantage of the outstanding innovations of the beginning of the century, becoming a wonderful conduit of the theories and dramatic aesthetics of that period. While he put this apprenticeship into practice in his lyric works, these works also suggest and experiment with new scenic dramatic arts. Britten's dramaturgy did not leave the public indifferent; keenly appreciated by the great European theatre directors, it jostled the French out of their habits and their prejudices against English music

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Salfen, Kevin McGregor. "Myth in the Early Collaborations of Benjamin Britten and William Plomer." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4837/.

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Although the most well-known collaborations of William Plomer and Benjamin Britten are the three church parables (or church operas) - Curlew River, The Burning Fiery Furnace, and The Prodigal Son - by the time of the completion of Curlew River in 1964, the librettist and composer had been working together for well over a decade. During that time, they had completed the opera Gloriana and had considered collaborating on three other projects: one a children's opera on Beatrix Potter's The Tale of Mr. Tod, one on an original story of Plomer's called "Tyco the Vegan," and one on a Greek myth (possibly Arion, Daedalus and Icarus, or Phaëthon). Far from being footnotes to the parables, these early collaborations established Plomer and Britten's working relationship and brought to light their common interests as well as their independent ones. Their successive early collaborations, therefore, can be thought of as a conversation through creative expression. This metaphor of conversation can be applied both to successive collaborations and to the completed Gloriana, in that the libretto and the music can be seen as representing different interpretations of both major and minor characters in the opera, including Elizabeth I and Robert Devereux, Earl of Essex. In Gloriana, Britten employed at least three specifically musical methods of challenging the meaning of the libretto: instrumental commentary, textural density, and dramatically significant referential pitches. Plomer and Britten's conversation, carried out through these early collaborations, touches on the function of art, activism, and modern morality, but it is best circumscribed by the concept of myth. Two divergent and very influential interpretations of myth - Matthew Arnold's "sweetness and light" and primal liberation (deduced from Nietzsche) - can be usefully applied to Plomer and Britten's unfolding conversation. The implications of Plomer and Britten's adoption of myth as the topic and language of their collaborative conversation are vast and must be considered in order to understand more fully their work together.

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Seymour, Claire. "The subversive voice : expression and evasion in the operas of Benjamin Britten." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267396.

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Lee, Jeong-A. "Benjamin Britten's Sonata in C for Cello and Piano, Op. 65: A Practical Guide for Performance." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9841.

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Pauley, John-Bede. "Benjamin Britten, Herbert Howells, and silence as the ineffable in English cathedral music." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/9499/.

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Silence’s expressive potential came to the fore in twentieth-century arts and letters as never before. Its role in Christian theology and spirituality has a much longer history, but by the beginning of the twentieth century, its expressive potential had not been significantly recognized in liturgical choral music. This study examined the relationship between twentieth-century musical silence and the expression of silence as the ineffable in Anglican choral music (referred to as English cathedral music or ECM) of the middle of the twentieth century. The oeuvres of Benjamin Britten and Herbert Howells, two composers successful in both secular and liturgical repertoires and prominent in mid-twentieth-century ECM, were analyzed. This study examined perceptions and expressions of silence in areas of thought and creativity closely related to ECM: Anglican theology, twentieth-century music, and twentieth-century literature. It found that twentieth-century Anglicanism had an ethos of restraint about expressing silence, but the High Church wing (closer to Anglicanism’s Catholic roots) was more open to expressing silence as the ineffable than the Evangelical wing. Howells’s High Church background and Britten’s Evangelical background help account for Howells’s interest and Britten’s lack of interest in silence as the ineffable. This difference between Howells and Britten also became apparent by examining the silence-related literature they selected or avoided. Howells’s oeuvre thus became the focus of the remainder of the study. Howells’s perceptions of, and techniques for expressing, silence as the ineffable—some of which are unique to him—were identified and compared with the perceptions and techniques of important continental composers interested in silence: Claude Debussy, Maurice Ravel, Anton Webern, and Olivier Messiaen. This study analyzed Howells’s more direct expressions of silence in several secular works before analyzing the more nuanced expression of silence in his ECM.

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Collett, Jacqueline L., and Jacqueline L. Collett. "Benjamin Britten and Contemporary Art Song Literature: A Discussion of A Birthday Hansel." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626233.

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Fan, Chia-Lin. "The solo cello music of Benjamin Britten : an analysis : First cello suite, op. 72, Second cello suite, op. 80, Third cello suite, op. 87, and Tema Sacher." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1378140.

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The purpose of this study was to recognize the unique character of Benjamin Britten's writing for cello and to exhibit his exceptional contribution to the cello repertory. Britten made a significant contribution to the cello repertory with his six cello works: Sonata. for Cello and Piano in C, Op. 65, Cello Symphony, Op. 68, The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher . However, many of these compositions are underperformed and overlooked by today's performers. This disregard by the general public for Britten's cello works may be because of the interest in other extreme compositional styles employed by several other composers in the 20th century. While Britten's contemporaries focused on extremely inventive methods of writing, Britten focused on his own renovation of the traditional elements.This study focused on Benjamin Britten's four solo cello works: The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher'. It began with a biographical overview of Benjamin Britten's life, his writing philosophy, and the way it influenced his compositional process. This study then delved into the depth of the three solo cello suites, Tema `Sacher', and concluded with a summary of the analysis.Each of the works were examined and analyzed according to Britten's use of the concept of duality. The dual elements of rhythm/tempo/meter, motive, key/tonality/modality, form, and texture were analyzed in details. This study analyzed every movement based on its application of those elements. Excerpts of music were also provided to illustrate with the analysis.This study hopes to allow the public to rediscover the ingenious writing Benjamin Britten achieved and to encourage today's cellists to recognize Britten's importance as a composer in the history of cello composition.
School of Music

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Chowrimootoo, Christopher Craig. "Middlebrow Modernism: Britten's Operas and the Great Divide." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11102.

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This study examines the way Britten's operas and their audiences muddied the waters of the so-called "great divide" between modernism and mass culture, mediating between the aesthetics of difficulty and distinction on the one hand, and the pleasures and conventions associated with popular opera on the other. Using the fraught responses of early critics as a way in, I examine the precise musical and critical strategies through which the operas confounded a range of marked modernist binaries - between innovation and tradition, difficulty and sentimentality, modernism and mass culture. One of the main appeals of Britten's operas, I argue, lay in providing mid-century audiences with the chance to have their modernist cake and eat it, to revel in the putatively "cheap" pleasures of consonance, lyricism and theatrical spectacle even while enjoying the prestige that flows from rejecting them.
Music

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Jackson, Christopher Michael. "Britten’s Op 47, Five Flower Songs: Breaking Trends in Analysis." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500181/.

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Benjamin Britten’s life and music have been the subject of study from early in his musical career. Current trends in psychological analysis of Britten’s music tend to focus on common themes, such as homosexuality, pacifism, the sense of the outsider, and the loss of innocence. Similarly, theoretical analyses tend either to provide general categorizations of the technical elements in Britten’s music or to apply a singular preconceived concept as a tool for understanding his compositions. These approaches have yielded significant information but leave aspects of Britten’s personality and music unilluminated. Britten’s Op. 47, Five Flower Songs, are a collection of five part songs for a cappella chorus that are often included within the canon of 20th century choral literature. This paper examines a new perspective on Britten’s music by examining the relationship between Britten’s friendships and their influence on his compositions. Through the examination of these relationships information is revealed that allows for a new method of analysis that is particularly relevant to the Five Flower Songs. The opus was dedicated to two botanists for the occasion of their 25th wedding anniversary. Contained within specific movements are extra-musical references to scientific characteristics of the flowers that are the subjects of the texts. By examining this work and important connections between other friendships and his compositional output this paper demonstrates the validity of this perspective in analyzing Britten’s life and music.

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Klinke, Gregor. "Benjamin Brittens 'Curlew River' Zwischen Exotismus, Synthese und Adaption." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36625.

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Biggam, Vincent Mark. "BENJAMIN BRITTEN'S FOUR CHAMBER WORKS FOR OBOE." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991335799.

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Tice, Kenneth G. "An Analytical, Rehearsal, and Performance Guide to Ad majorem Dei gloriam by Benjamin Britten." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377874852.

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Roberts, Erinn. "Stylistic fusion in the Cabaret Songs of Benjamin Britten and W.H. Auden : a performer's analysis." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/16322.

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The Cabaret Songs of W.H. Auden and Benjamin Britten merge characteristics of a multitude of styles. The purpose of this document is to investigate the fusion of styles making up the Cabaret Songs and to analyze them from a performer’s perspective with the goal of providing collaborative partnerships with an historical and musical foundation on which to build their interpretation of the Cabaret Songs and thereby serve as a basis for informed performance decisions. Chapter 1 includes biographical information for both Benjamin Britten and W.H. Auden focusing on how the two artists met and discusses their working relationship during the seven years in which they collaborated. Also included is a short section of relevant biographical information on the singer/actress Hedli Anderson for whom the Cabaret Songs were created. Chapter 2 includes a brief overview of the history of the European cabaret-artistique and examines the creation and development of this art form. Examples of cabaret songs from other composers, namely Erik Satie, Kurt Weill, Friedrich Hollaender, and Noel Coward are given to show the musical soil of the era, from which the Britten and Auden pieces sprouted. Chapter 3 discusses the Cabaret Songs on a song-by-song basis and provides a musical analysis from a performer’s perspective, outlining the different musical influences in each song and investigating the cross-pollination of musical styles. The songs will be examined for characteristics of traditional European art song, operatic elements, American popular song elements, European dance rhythms and elements of original European cabaret.

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Centeno, Vincent Desiongco. "Text painting through neo-Riemannian transformation and rhythmic manipulation in the vocal music of Benjamin Britten." Thesis, University of Oregon, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3717318.

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The music of Benjamin Britten is both inspiring and intriguing: inspiring, because his music can move the listener; intriguing, because his use of triadic harmonies and rhythmic settings seems at once free, flexible, and spontaneous yet sensible and appropriate in representing the mood of the text. Although many of Britten's harmonies are traditional in nature, e.g. major and minor triads, it is difficult, almost impossible or cumbersome at best, to assign Roman numerals to his harmonies because his manner of chord progression does not always conform to functional theory.

In my analyses, I will demonstrate that the logic behind Britten's harmonic progressions can be explained through two types of neo-Riemannian transformation theories, namely Richard Cohn's Four Hexatonic Systems and Leonhard Euler's Tonnetz. In the case of the "Spinning Scene" from The Rape of Lucretia, Hindemith's "Table of Chord-Groups" will be used to explain the presence of harmonies that are not part of the four hexatonic systems. Throughout, Schenkerian graphs will be presented to illustrate how the underlying structure and overall harmonic design of each piece work in conjunction with the emotion of the text. In addition, I will show that his rhythmic manipulations, when coupled with the meaning behind his chord progression, vividly paint the emotion of the text, as well as the state of mind of the poet or the character in an opera.

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Centeno, Vincent. "Text Painting through Neo-Riemannian Transformation and Rhythmic Manipulation in the Vocal Music of Benjamin Britten." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19305.

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The music of Benjamin Britten is both inspiring and intriguing: inspiring, because his music can move the listener; intriguing, because his use of triadic harmonies and rhythmic settings seems at once free, flexible, and spontaneous yet sensible and appropriate in representing the mood of the text. Although many of Britten’s harmonies are traditional in nature, e.g. major and minor triads, it is difficult, almost impossible or cumbersome at best, to assign Roman numerals to his harmonies because his manner of chord progression does not always conform to functional theory. In my analyses, I will demonstrate that the logic behind Britten's harmonic progressions can be explained through two types of neo-Riemannian transformation theories, namely Richard Cohn's Four Hexatonic Systems and Leonhard Euler's Tonnetz. In the case of the "Spinning Scene" from The Rape of Lucretia, Hindemith’s "Table of Chord-Groups" will be used to explain the presence of harmonies that are not part of the four hexatonic systems. Throughout, Schenkerian graphs will be presented to illustrate how the underlying structure and overall harmonic design of each piece work in conjunction with the emotion of the text. In addition, I will show that his rhythmic manipulations, when coupled with the meaning behind his chord progression, vividly paint the emotion of the text, as well as the state of mind of the poet or the character in an opera.

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Desblache, Lucile. "Autour d'albert herring : recherches sur l'expression de l'humour dans la musique vocale et lyrique de benjamin britten." Paris 8, 1987. http://www.theses.fr/1988PA080227.

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Apres deux siecles de declin, la vie musicale britannique fut stimulee par une seconde renaissance, perceptible des la fin du dix-neuvieme siecle. Le respect de veugle des conventions ayant engendre une musique sclerosee, mais la tradition du chant ayant neanmoins survecu, l'une des issues les plus liberatrices consista en une optique musicale humoristique. S'attachant a ecrire principalement pour la voix, benjamin britten sut particulierement explorer les possibilites de cet humour, qui lui permit de preserver la tradition tout en evitant les pieges de l'academisme qui avait englouti ses predecesseurs
After two centuries of decline, british musical life has been stimulated by a second renaissance, noticeable from the end of the nineteenth century. Blind respect for conventions had paralysed the freedom of expression, but the vocal tradition always survived; therefore, one of the most liberating issues consisted in a humourous conception of music. Choosing to write mainly for the voice, benjamin britten successfully explored the possibilities of this humour; it allowed him to preserve tradition without falling into the traps of academism which had engulfed his predecessors before him

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Reed, P. "The incidental music of Benjamin Britten : A study and catalogue of his music for film, theatre and radio." Thesis, University of East Anglia, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380122.

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Birnbaum, Sara Gardner. "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/7.

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In the western classical tradition, the violoncello has developed a reputation for its soulful, vocal qualities. Because of this distinction, many composers have written elegiac works for the cello. This document comprises studies of three twentieth-century British elegies for cello and piano, each explored against a backdrop of poetic, societal and musical influences. The results reveal several common tropes of mourning, both musical and extra-musical, which can be applied to further studies of musical works.

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Lee, Jung-Eun. "Aspects of piano performance : stylistic analysis of the concerto in D, op. 13, for piano and orchestra by Benjamin Britton." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1354643.

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The purpose of this study was to acknowledge and bring to light the undeniable significance of Benjamin Britten as a composer and his Piano Concerto in D, Op.13. This dissertation delved into the depth of the concerto with structural and harmonic analysis along with suggested pedagogical methods and performance aspects.The first chapter included an introduction of the piano-concerto genre in general, motivation for the study of Britten's Piano Concerto, review of literature on Britten and the piano concerto, and methodology of the dissertation. The second chapter continued with an overview of Britten's life, accomplishments as a pianist, and his contribution to the piano repertoire in general. The third chapter provided a stylistic analysis on each movement of the concerto. It included structural analysis based on the formal, motivic, thematic, rhythmic, melodic and harmonic elements presented throughout the concerto. Additionally, possible technical challenges and suggestions for practice methods were recommended based on the issues of phrasings, articulations, dynamics, musical expressions and styles. Since each movement has its own unique titles such as Toccata, Waltz, Impromptu, and March, the origins of the genre and Britten's association with the terminology was also examined.The dissertation not only underlined the importance of Britten as a composer for the piano, it also revealed his distinct compositional characteristics shown in the piano concerto in relation to his other significant piano repertoire. The dissertation closed with a summary of the detailed analysis of the concerto and recommended further studies on Britten and his piano concerto.
School of Music

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Vivona, Christine M., and Christine M. Vivona. "A survey of the harp writing of Benjamin Britten with an emphasis on a Ceremony of Carols, Suite for Harp, and a Birthday Hansel." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624862.

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Benjamin Britten has written solo and chamber works for the harp which extend harp technique and contribute to a twentieth century public awareness of the instrument. Unlike the majority of harp composers, Britten was internationally known and not a harpist himself. His works form a large part of all contemporary harp literature, yet his solo work and composition for harp and high voice are rarely played because of their difficulty. An examination of A Ceremony of Carols (1942), Suite for Harp (1969), and A Birthday Hansel (1975), will illustrate his contribution to harp performance and technique, and will serve as a valuable resource for harpists.

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Baker, Sherry Holbrook. "In Memoriam: Nine Elegiac Works for Horn, 1943–2004." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1267719018.

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Campbell, Bailey Mary L. "Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918439.

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Lehn, Mathias. "Le personnage de Puck du modèle shakespearien à l’opéra contemporain (Britten, Vreuls, Delannoy, Gerber)." Paris 4, 2008. http://www.theses.fr/2008PA040150.

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L’histoire littéraire de Puck et les sources du Songe d’une nuit d’été de Shakespeare sont confrontées à leurs illustrations musicales par Benjamin Britten, Victor Vreuls, Marcel Delannoy et René Gerber. Ainsi, les quatre livrets sont étudiés conjointement à la pièce dont ils sont issus. L’analyse du rôle dans les opéras permet de dégager des points de convergence et de divergence dans la mise en musique de la pièce par les quatre compositeurs
The history of Puck in litterature and the sources of Shakespeare’s Midsummer Night’s Dream are confronted with their musical settings by Benjamin Britten, Victor Vreuls, Marcel Delannoy et René Gerber. Then, the four librettos are compared to the play. The analysis of the character in the operas leads to converging and diverging options in the four musical settings of the original play

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Gibb, Charles. "Benjamin Britten's Neglected "Gemini Variations," Op. 73 and Its Place in the Chamber Music Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703357/.

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In 1964, Benjamin Britten met the multi-instrumentalist twins Zoltán and Gábor Jeney while traveling in Budapest. At their behest, Britten composed Gemini Variations: Twelve Variations and Fugue on an Epigram by Kodály, a work which exploited the brothers' abilities on multiple instruments: Zoltán on flute and piano, and Gábor on violin and piano. In foreseeing the difficulties of programming this work, Britten simultaneously arranged a version for four players: flute, violin, and four-hand piano, eliminating the need for switching instruments. Despite this arrangement, as well as a very public and highly anticipated premiere at the Aldeburgh Festival in 1965, Gemini Variations has remained neglected by performers and scholars alike. This document serves to 1) promote a work that can justifiably be considered as part of the chamber music repertoire involving flute; 2) advocate for its musical merit and appropriateness for chamber music concerts made up of more traditional groups of players; 3) compare the two-player and four-player versions Britten wrote; and 4) explore the likely reasons why a piece by one of the most celebrated composers of the twentieth century has remained largely ignored for over fifty years.

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Kim, Youngkyong Kim Youngkyong. "Volume I. Reconciliation a study of words and music in Schoenberg's Pierrot lunaire, Stravinsky's Symphony of psalms and Requiem canticles, and Britten's War requiem ; Volume II. Eo-meo-ni = (Mother) (o̳-mo̳-ni) : for medium voice and string orchestra /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835512491&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Greenhalgh, Michael John. "A critical edition, with introduction and commentary, of the libretto texts of Montagu Slater and Benjamin Britten's Peter Grimes." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:e7341552-afc2-4c6f-b7de-9339c85e304b.

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A definitive text of the libretto of Benjamin Britten's opera Peter Grimes is here presented. The process by which it was created is revealed in detail. All the extant versions are collated and significant differences between them displayed. For the first time the scenarios written by Britten and his partner Peter Pears and the first surviving draft versions of scenes by the librettist Montagu Slater are published in full. Additions to the draft and final libretto texts and revisions throughout this process by Slater, Britten, producer Eric Crozier and, in the final scene, poet Ronald Duncan, are clarified and a critique provided. Marked differences in stage directions between the libretto texts and music scores are shown and versions selected or created which offer the best indicative detail for performance practice. The edited text is similarly enriched by the inclusion of performance indicators from various sources added by Britten, Pears and the work's first conductor, Reginald Goodall. The edition is introduced by three 'Perspectives' sections which consider (1) Britten's relationship with Slater and working practice with librettists; (2) the relationship of the work to its original source, George Crabbe's poem The Borough, the difference in the portrait and treatment of the character Peter Grimes and the reasons for the difference; and (3) the particular contribution and features of Slater's writing. Thereafter follow an account of the rationale, principles and practice of the edition and introductions to every scene in which the use of source material, the evolution of the text, the plot development and performance issues of the scene, the presentation of characters and the set are delineated, the latter with reference to photographs of the original set hitherto unpublished.

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Hautzinger, Daniel. ""Music-making in a Joyous Sense": Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1462805190.

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Lemos, Caio Victor de Oliveira [UNESP]. "O estatuto enunciativo do intérprete violonista." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151465.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O presente trabalho investiga o estatuto do intérprete de violão. Partindo da hipótese de que o intérprete contribui para a construção de sentido em uma realização musical, constatou-se a insuficiência de um instrumental teórico que possibilitasse a averiguação de sua relevância enquanto instância participativa do fazer musical. A perspectiva de uma abordagem enunciativa mostrou-se oportuna para os propósitos deste trabalho, além de contribuir para a construção de uma cientificidade na área musical. A dissertação foi desenvolvida em quatro capítulos. O primeiro trata das principais designações atribuídas à atividade do intérprete e das consequências teóricas de cada assunção. No segundo, é traçado um paralelo entre linguística e música, apresentando a afinidade de problemáticas presentes em ambas as áreas, ao mesmo tempo em que desenha paulatinamente o panorama enunciativo sobre essas questões. No terceiro, foram apresentados os princípios da teoria enunciativa, basicamente: as categorias de pessoa, tempo e espaço; os mecanismos de instauração dessas categorias no enunciado; além dos conceitos de dialogismo, uso linguístico e contrato veridictório. Foram apontadas algumas possibilidades de transposição desses princípios e sua aplicação mostrou-se, assim, exequível na área musical. Por fim, no quarto capítulo, foram analisados, dentro de uma perspectiva enunciativa, dois enunciados musicais em vídeo de diferentes intérpretes —Paul Galbraith e Kazuhito Yamashita—tocando a mesma obra, Nocturnal op. 70 de Benjamin Britten. Concluiu-se que é possível atribuir um estatuto ao intérprete de violão por meio de uma abordagem enunciativa. As marcas da enunciação no enunciado nos permitiram depreender como se deu a construção de sentido, as estratégias discursivas, a imagem que o enunciador construiu de si mesmo, além da intencionalidade marcada, atribuindo assim um lugar central ao intérprete na construção do sentido musical.
This work investigates the status of the guitar performer. Starting from the hypothesis that the performer contributes to the construction of meaning in a musical performance, we have come across the insufficiency of the theoretical tools to ascertain his/her relevance as a participating instance in music making. The perspective of an enunciative approach has proven to be opportune for the purposes of this investigation, also contributing to the establishment of a more specific perspective in the music field. This Master’s thesis is divided into four chapters. The first one deals with the most prominent designations attributed to the performer’s activity and the theoretical consequences of each assumption. On the second one, a parallel is drawn between linguistics and music, presenting the kinship between the issues in both areas, at the same time progressively sketching an overview of the enunciation aspects related to them. On the third chapter, the principles of the enunciation theory were presented, in short: the categories of person, time, and space; the mechanism for the establishment of these categories on text/speech; as well as the concepts of dialogism, linguistic usage, and veridictory contract. Some possibilities of transposition of these principles were presented and thus their application has proven viable in the music domain. Finally, on the fourth chapter, two performances were analyzed from an enunciative perspective: videos of two different interpreters — Paul Galbraith and Kazuhito Yamashita — playing the same piece, Benjamin Britten’s Nocturnal op. 70. Our investigation and its application to concrete texts led us to conclude that a status can be attributed to the guitar performer through an enunciative approach. The enunciation marks inscribed on the text allowed us to capture the process of the construction of meaning, the discursive strategies, the image that the enunciator created for him/herself, as well as the intentionality outlined on the text, thus assigning a central role to the performer in the construction of musical meaning.

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Kongwattananon, Oranit. "Arvo Pärt and Three Types of His Tintinnabuli Technique." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271844/.

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Arvo Pärt, an Estonian composer, was born in 1935. Most of the works at the beginning of his career were for piano in the neo-classical style. After that, he turned his interest to serial music and continued creating works with serial techniques throughout the 1960s. After his "self-imposed silence" period (during the years 1968-1976), Pärt emerged with a new musical style, which he called tintinnabuli. Although, this technique was influenced by music from the medieval period, the texture and function of its musical style cannot be described easily in terms of any single musical technique of the past. This study explores the evolution of Arvo Pärt's tintinnabuli technique in its first decade 1976-1985, which is divided into three different types. It provides musical examples from the scores of selected works, Für Alina, Cantus in Memory of Benjamin Britten, Cantate Domino canticum novum, Missa Sillabica, Stabat Mater and Es sang vor langen Jahren, and their analyses with supporting interpretative sketches. The goal of this thesis is to provide the reader a basis for understanding and recognizing the different types of Pärt's tintinnabuli technique.

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Cowell, Emma Mildred. "Dialogues with the Past: Musical Settings of John Donne's Poetry." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1339692006.

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Reineke, Antje [Verfasser]. "Benjamin Brittens Liederzyklen / Antje Reineke." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/1080456732/34.

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McBrayer, Benjamin Marcus. "The Specter of Peter Grimes: Aesthetics and Reception in the Renascence of English Opera, 1945-53." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1216694339.

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Thesis (Master of Music)--University of Cincinnati, 2008.
Advisors: Dr. Bruce D. McClung PhD (Committee Chair), Dr. Mary Sue Morrow PhD (Committee Member), Kenneth R. Griffiths MM (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords:Benjamin Britten; Ralph Vaughan Williams; Peter Grimes; The Pilgrim's Progress; Gloriana; Aesthetics; Reception; Reception History; English Opera; Twentieth-Century English Opera Includes bibliographical references.

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Dissertations / Theses on the topic 'Benjamin Britten'

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