Relevant bibliographies by topics / Handel, George Frideric, 1685-1759 Gloria

Academic literature on the topic 'Handel, George Frideric, 1685-1759 Gloria'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Handel, George Frideric, 1685-1759 Gloria.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Handel, George Frideric, 1685-1759 Gloria"

1

Adams, A. K., and B. Hofestadt. "Georg Handel (1622-97): the barber-surgeon father of George Frideric Handel (1685-1759)." Journal of Medical Biography 13, no. 3 (August 1, 2005): 142–49. http://dx.doi.org/10.1258/j.jmb.2005.04-49.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Adams, Aileen K., and B. Hofestädt. "Georg Händel (1622–97): The Barber-Surgeon Father of George Frideric Handel (1685–1759)." Journal of Medical Biography 13, no. 3 (August 2005): 142–49. http://dx.doi.org/10.1177/096777200501300308.

Full text
Abstract:
George Frideric Handel was born in Halle (Saale) in Germany. After initial musical education in Germany and Italy, he came to London as a young man and spent the rest of his life in England. Until recently, little has been written of his early life in either the English or the German literature, and it is not widely known that he was the son of Georg Händel, a barber-surgeon of repute. When his father's name is mentioned, it is usually to claim that he actively discouraged his son's musical education. Georg Händel lived in a turbulent time; he became an eminent surgeon who served as valet and barber to the Courts of Saxony and Brandenburg, as well as a distinguished citizen of Halle. In describing his surgical duties, we show how these differed from those of barbers in England and France at that time. Barbers in Germany were less controlled, freer to practise as they pleased, and Händel himself had important duties in public health and forensic medicine. George Frideric was the first son of the second marriage, born when his father was 63 years of age. We aim also to dispel the notion that Händel's influence on his son's career was as obstructive as has been claimed, but rather that he was a responsible father with his children's interests at heart. This is shown in the success achieved by all his children, most of whom followed their father into medicine, while George Frideric became the most famous of them all, being regarded by posterity as one of the greatest composers.
APA, Harvard, Vancouver, ISO, and other styles
3

CHISHOLM, LEON. "GEORGE FRIDERIC HANDEL (1685–1759), JOHN CHRISTOPHER SMITH (1712–1795) SMITH & HANDEL Julian Perkins (harpsichord) Chandos 0807, 2015; one disc, 78 minutes." Eighteenth Century Music 14, no. 2 (August 30, 2017): 318–20. http://dx.doi.org/10.1017/s1478570617000203.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Nex, Jenny, and Lance Whitehead. "A Copy of Ferdinand Weber's Account Book." Royal Musical Association Research Chronicle 33 (2000): 89–150. http://dx.doi.org/10.1080/14723808.2000.10540991.

Full text
Abstract:
With a population of some 140,000 in 1760, Dublin was the second largest city in the British Isles. Although small in comparison to London, it had a thriving musical community which attracted the likes of George Frideric Handel (1685–1759), Thomas Arne (1710–1778), Niccolo Pasquali (c. 1718–1757) and the oboist Johann Fischer (1733–1800). Concerts took place at various venues across the city including Dublin Castle, Christ Church Cathedral and Fishamble Street Musick Hall. In addition, societies such as the Musical Academy (an aristocratic music society founded by the Earl of Mornington in 1757) supported charitable concerts such as those at the Rotunda, the concert venue attached to the Lying-in Hospital. Although instruments were imported from London throughout the century (John Snetzler, for example, supplied the organ for the Rotunda in 1767), there was a knot of local instrument builders working in the vicinity of Trinity College. However, in contrast to the concentration of keyboard instrument builders in the Soho area of London in the eighteenth century, the distribution of harpsichord makers in Dublin was more diffuse.
APA, Harvard, Vancouver, ISO, and other styles
5

Lindgren, Lowell. "Musicians and Librettists in the Correspondence of Gio. Giacomo Zamboni (Oxford, Bodleian Library, Mss Rawlinson Letters 116–138)." Royal Musical Association Research Chronicle 24 (1991): 1–194. http://dx.doi.org/10.1080/14723808.1991.10540945.

Full text
Abstract:
Gio. Giacomo Zamboni, merchant, diplomat and amateur harpsichordist, was born in Florence on 26 July 1683, arrived in London late in 1711 and lived there until his death on 8 April 1753. His career closely parallels that of George Frideric Handel, composer, manager and harpsichordist, who was born in Hanover in 1685, arrived in London late in 1710 and lived there from late 1712 until his death in 1759. When these two men arrived in London, opera in Italian was a novelty at the Queen's Theatre in the Haymarket, which had just begun to employ Italian singers, instrumentalists, composers, librettists and stage designers. During the ensuing decades, there was an unprecedented influx of Italian performers and creators who, like Handel and other ‘outlandish’ personnel at this theatre, found that salaries were higher, working conditions were better and freedom was greater in England than in their own lands. Many therefore stayed as long as possible, and their artistic accomplishments as well as their intricate interactions with British and foreign patrons, diplomats, merchants and musicians are fascinating endeavours that deserve detailed study. At present, the best survey is that in George Dorris, Paolo Rolli and the Italian Circle in London, 1715–44 (The Hague and Paris, 1967), which focuses upon literary accomplishments. The essential base for any such study must, of course, be primary source materials, which include letters and other documents as well as librettos and scores. My hope is that the passages cited below from 458 items, most of which have never before been printed, will significantly broaden our base for study of ‘the Italian circle’ in London between 1716 and 1750.
APA, Harvard, Vancouver, ISO, and other styles
6

LEECH, PETER. "GEORGE FRIDERIC HANDEL (1685–1759) CHANDOS ANTHEMS Emma Kirkby (soprano), Iestyn Davies (alto), James Gilchrist (tenor), Neal Davies (bass) / The Choir of Trinity College, Cambridge / Academy of Ancient Music / Stephen Layton Hyperion, CDA67737, 2009; one disc, 66 minutes - GEORGE FRIDERIC HANDEL (1685–1759) HANDEL IN THE PLAYHOUSE Mary Bevan (soprano), Greg Tassell (tenor) / L'Avventura London / Žak Ozmo Opella Nova, ONCD014, 2009; one disc, 52 minutes - GEORGE FRIDERIC HANDEL (1685–1759) PARNASSO IN FESTA, hwv73 Carolyn Sampson (soprano), Lucy Crowe (soprano), Rebecca Outram (soprano), Diana Moore (mezzo-soprano), Ruth Clegg (alto), Peter Harvey (bass) / Choir of the King's Consort / The King's Consort / Matthew Halls Hyperion, CDA67701/2, 2008; two discs, 132 minutes - GEORGE FRIDERIC HANDEL (1685–1759) TE DEUM IN D MAJOR, ‘DETTINGEN’, hwv283, ORGAN CONCERTO NO. 14 IN A MAJOR, hwv296A, ZADOK THE PRIEST, hwv258 Neal Davies (bass), Richard Marlow (organ) / The Choir of Trinity College, Cambridge / Academy of Ancient Music / Stephen Layton Hyperion, CDA67678, 2008; one disc, 61 minutes." Eighteenth Century Music 7, no. 2 (July 30, 2010): 305–9. http://dx.doi.org/10.1017/s1478570610000199.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

HAWKS, KATIE. "GEORGE FRIDERIC HANDEL (1685–1759) ACIS & GALATEA HWV49A (ORIGINAL CANNONS PERFORMING VERSION, 1718) Susan Hamilton (soprano), Nicholas Mulroy (tenor), Thomas Hobbs (tenor), Nicholas Hurndall Smith (tenor), Matthew Brook (bass-baritone)/Dunedin Consort & Players/John Butt Linn Records CKD 319, 2008; two discs, 95 minutes." Eighteenth Century Music 6, no. 2 (August 3, 2009): 289–91. http://dx.doi.org/10.1017/s1478570609990169.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Jones, Andrew V. "GEORGE FRIDERIC HANDEL (1685–1759) FLAVIO, RE DE' LONGOBARDI. Rosemary Joshua (soprano), Iestyn Davies (countertenor), Tim Mead (countertenor), Renata Pokupić (mezzo-soprano), Hilary Summers (contralto), Andrew Foster-Williams (baritone), Thomas Walker (tenor) / Early Opera Company / Christian Curnyn. Chandos Chaconne, CHAN 0773(2), 2010; two discs, 146 minutes." Eighteenth Century Music 9, no. 1 (January 27, 2012): 146–49. http://dx.doi.org/10.1017/s1478570611000510.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

WOLLSTON, SILAS. "Raphael Courteville (fl. c1675–c1735), William Croft (1678–1727), Giovanni Battista Draghi (c1640–1708), George Frideric Handel (1685–1759), Nicola Francesco Haym (1678–1729), Johann Christoph Pepusch (1667–1752), Henry Purcell (1659–1695), John Weldon (1676–1736) Musical London c. 1700: from Purcell to Handel; Philippa Hyde (soprano), Oliver Webber (violin) / The Parley of Instruments / Peter Holman; Chandos CHAN 0776, 2010; one disc, 76 minutes." Eighteenth Century Music 9, no. 2 (July 30, 2012): 282–84. http://dx.doi.org/10.1017/s147857061200019x.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Handel, George Frideric, 1685-1759 Gloria"

1

Lai, Wendy W. 1975. "Handel's borrowing practice in his biblical oratorios." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33296.

Full text
Abstract:
This thesis explores the relationship between Handel's borrowing practice and his creation of a new genre---the English Biblical oratorio. It focuses on the types of borrowing, the genres Handel borrowed from, and the use of self-borrowing vs. borrowing from other composers. A comprehensive list of borrowings discovered in Handel's Biblical oratorios (Appendix A) allows the patterns in Handel's borrowing practice and the evolution of the genre to be revealed and discussed.
Chapter One provides a review of the literature on Handel's borrowing in general and the historical roots of Handel's Biblical oratorios. Chapter Two looks at the scholarly treatment of Handel's borrowing, and goes on to discuss specific musical examples of three borrowing types: Type I (reuse), Type II (rework), and Type III (new work). The final chapter identifies borrowing patterns that emerge in Handel's early, middle, and late Biblical oratorios. The borrowing type shifts from Type I to Type III, whereas the genres borrowed from change from sacred choral works to secular operas. Self-borrowings dominate in his early oratorios, drastically decrease in the middle period, and increase again in the late period.
APA, Harvard, Vancouver, ISO, and other styles
2

Robinson, Susan L. B. "An analysis of Handel's Jeptha : the story and performance practice." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/491437.

Full text
Abstract:
The sacred oratorio Jephtha, Handel's last major work, contains intense drama, impressive character development and a brilliant use of music. In studying the work one discovers not only a masterpiece of art, but also learns a great deal about the composer who, through his music, discloses much of his soul. From a formal point of view key schemes are important.There are different editions of this score; some are more reliable than others. When studying the score one should be aware of the significant number of borrowings present in this work; these include borrowings from Handel's own works as well as from works of others.It is important for every musician to be familiar with the Baroque style as its study will be necessary in performance of music of that period. There are many things to consider when determining a Baroque interpretation of this work. These include style of wind and string playing, phrasing, pitch, ornamentation, instrumentation, and tone quality. It has become common practice, in performance of a Baroque work, to strive towards achieving a recreation of the original performance of the seventeenth or eighteenth century.
School of Music
APA, Harvard, Vancouver, ISO, and other styles
3

Spencer, Reid Donald. "The mad scene from Handel's Orlando, a new attempt at staging." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0028/NQ38980.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hiramoto, Stephen Anthony. "Soloistic Writing for the Oboe in the Arias of Handel's Operas, with Three Recitals of Selected Works by Marcello, Strauss, Ravel, Bach, Handel, Saint-Saens and Others." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277853/.

Full text
Abstract:
Although long-neglected, the topic of Handel's operatic oeuvre has in recent years gained new currency. Of interest to oboists is the great amount of soloistic writing for the oboe in the arias of his operas which takes the form of obbligato solos. From this body of works approximately twenty operas contain soloistic writing for the oboe in conjunction with the voice. The rationale for the investigation of this topic is two-fold: first, to make oboists aware of the availability of this body of literature, and second, to explore the manner and extent to which Handel used the oboe as an obbligato instrument. Topics covered include the instrumental make-up of Handel's orchestra and a brief history of the obbligato aria beginning with the early trumpet arias. An examination of Handel's compositional technique precedes a detailed analysis of six examples of varying style. The conclusion considers the aesthetics of performing these pieces out of context in light of historical practice and perception.
APA, Harvard, Vancouver, ISO, and other styles
5

Martinez, Yseult. "De la puissance des femmes : réflexion autour de cinq personnages d’opéra créés par G. F. Handel pour Londres entre 1730 et 1737." Electronic Thesis or Diss., Sorbonne université, 2020. http://www.theses.fr/2020SORUL119.

Full text
Abstract:
Le livret d’opéra est un support privilégié, mais trop souvent ignoré, pour sonder la psyché collective d’une époque et de sa société. À l’instar d’autres créations humaines, qu’elles soient purement intellectuelles et/ou manuelles, il s’apparente à une fenêtre ouvrant une perspective inédite sur un monde révolu et qui lorsqu’elle est ouverte laisse s’échapper les clameurs venues d’un autre siècle. Il s’agira donc de réinstaller les drammi per musica de George Frideric Handel dans leur contexte culturel et social. Ceci pour en restituer la réception la plus complète et fidèle possible et avoir une chance de s’approcher de l’expérience du public original. Face au mutisme des sources indirectes, il devient indispensable de se plonger au cœur des livrets, de s’intéresser aux mots et aux images, avant de donner la parole à la musique, en se donnant pour but d’expliciter tout ce que le texte implique, suggère, signifie, déclenche chez le spectateur.trice et tenter de reconstituer un corpus de références culturelles (littéraires, morales, religieuses, etc.), lesquelles colorent le texte de multiples et précieuses nuances, mais sont bien souvent perdus pour le public d’aujourd’hui. À travers cinq rôles féminins (Partenope, Berenice, Bradamante, Rosmira et Alcina), nous interrogerons la représentation de la femme et de la « féminité » à l’aune de la notion d’une puissance féminine et de ses implications sur la scène de l’opéra italien à Londres entre 1730 et 1737. Nous tenterons également d’apporter un éclairage supplémentaire sur cette période de transition dans la carrière du compositeur, lequel abandonne progressivement l’opéra italien pour se consacrer à l’oratorio anglais
The opera libretto is a privileged, though often ignored, medium for probing the collective psyche of an era and its society. Like other human creations, be they purely intellectual and/or manual, it offers a window, opening a new perspective on a bygone world, and once cleansed of the dirt deposited by the centuries and open, it lets out the light and clamour of another century. The aim will be to reinstall the drammi per musica of George Frideric Handel (1685-1759) in their cultural and social context, to recreate the fullest possible reception of the work and have a chance to get as close as possible to the experience of the original audience. Faced with the silence of the indirect sources, it becomes essential to plunge into the heart of the booklets, to take an interest in the words and images, to give the music its true voice, trying to clarify all that the text implies, suggests, signifies, triggers in the spectator and to try to reconstruct a corpus of cultural references (literary, moral, religious, etc.), that colour the text with multiple nuances, but are often lost to today’s audience. Through five female roles (Partenope, Berenice, Bradamante, Rosmira and Alcina), we will question the representation of women, femaleness and femininity in the light of the notion of female power and its implications on the Italian opera scene in London between 1730 and 1737. We will also attempt to shed further light on this transitional period in the career of the composer, who gradually abandoned Italian opera to devote himself to English oratorio
APA, Harvard, Vancouver, ISO, and other styles
6

Fern, Terry L. (Terry Lee). "Adaptation of Handel's Castrato Airs for Bass: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W. Mozart, M. Ravel, G. Finzi, R. Schumann, A. Caldara, G. Handel, H. Wolf, H. Duparc, C. Ives and S. Barber and an Operatic Role by Verdi." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc332021/.

Full text
Abstract:
The lecture recital was given on April 18, 1977. The subject was Adaptation of Handel's Castrato Airs for Bass, and it included a discussion of conventions peculiar to Handelian opera seria, concerns regarding adaptation of Handel's castrato airs and a comparison of adaptation practices in eighteenth- and twentieth-century presentations of Handel's operas. Three coloratura castrato airs and two virtuoso bass airs were performed at the conclusion of the lecture. In addition to the lecture recital, one operatic role and three recitals of solo literature for voice, piano and chamber ensemble were publicly performed. These included the role of "Samuele" in A Masked Ball, by Verdi, performed in English on March 19, 1975 with the Opera Theatre of North Texas State University, a program presented on November 24, 1975,of solo literature for voice, piano, and chamber ensemble, including works by J. S. Bach, W. Mozart, M. Ravel and G. Finzi, a program consisting of a set of works by R. Schumann presented on June 27, 1985, and a program presented on October 28, 1985,of solo literature for voice, piano, and chamber ensemble,including works by A. Caldara, G. Handel, H. Wolf, H. Duparc, C. Ives and S. Barber.
APA, Harvard, Vancouver, ISO, and other styles
7

Chang, Young-Shim. "Reading Handel: A Textual and Musical Analysis of Handel's Acis and Galatea (1708, 1718)." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5582/.

Full text
Abstract:
The purpose of this dissertation is two-fold: one is to analyze the narratives of Acis and Galatea written by Ovid, and the two libretti by Handel's librettists including Nicola Giuvo (1708) and John Gay (1718) with John Hughes and Alexander Pope; the other is to correlate this textual analysis within the musical languages. A 1732 pastiche version is excluded because its bilingual texts are not suitable for the study of relationships between meaning and words. For this purpose, the study uses the structural theory- -mainly that of Gérard Genette--as a theoretical framework for the analysis of the texts. Narrative analysis of Acis and Galatea proves that the creative process of writing the libretto is a product of a conscious acknowledgement of its structure by composer and librettists. They put the major events of the story into recitative and ensemble. By examining the texts of both Handel's work, I explore several structural layers from the libretti: the change of the characterization to accommodate a specific occasion and the composer's response to contemporary English demand for pastoral drama with parodistic elements, alluding to the low and high class of society. Further, Polyphemus is examined in terms of relationships with culture corresponding to his recurrent pattern of appearance.
APA, Harvard, Vancouver, ISO, and other styles
8

Cockburn, Christopher. "The establishment of a musical tradition : meaning, value and social process in the South African history of Handel's Messiah." Thesis, 2008. http://hdl.handle.net/10413/8870.

Full text
Abstract:
Handel's Messiah occupies a unique position in the musical life of South Africa. No item from the canon of 'classical' European choral music has been performed more often, over a longer period of time, and in a wider range of social contexts. This thesis seeks to answer two broad and interrelated questions: what were the social processes which brought this situation about; and how were perceptions of Messiah's meaning affected by its performance in social contexts markedly different from those of its origins? I concentrate on the two South African choral traditions for which Messiah has been central- those of the 'English' and 'African' communities - and on the period from the first documented performance of any item from Messiah until the emergence of a pattern of annual performances, which I take as a significant indicator of the historical moment at which the music could be regarded as firmly established in its new context. The history of Messiah's performance and reception in South Africa is traced using previous research on South African musical history and my own archival research and interviews. Following the broad outline of 'depth hermeneutics' proposed by John Thompson, I regard performances of Messiah as symbolic forms in structured contexts, and I interpret them through an analysis of relevant aspects of Jennens's libretto and Handel's music, of the discourse that surrounded the performances (where examples of this have survived), and of the social contexts and processes in which the performances were embedded. In examining the interactions of these different aspects, I draw on a variety of theoretical and methodological strands within musicology, cultural studies, and South African historical research. The cultural value accorded to Messiah emerges as a central theme. As a form of symbolic capital highly valued by dominant groups (the 'establishment') in the relevant South African contexts, it became an indicator of 'legitimate' identity and therefore of status. For both the English settlers and the emerging African elite (the primary agents in the establishment of Messiah in South Africa), it could represent the cultures in relation to which they defined themselves, towards which they aspired and within which they sought recognition: respectively, those of the metropole and of 'Western Christian civilization'. In political terms, this had the potential both to reinforce existing patterns of domination and to challenge them. Examples are given of the ways in which, at different moments in its South African history, Messiah was mobilized to support or to subvert an established political order, as a result of the specific meanings that it was understood to convey.
Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2008.
APA, Harvard, Vancouver, ISO, and other styles
9

Cortiula, Adam Anthony. "George Frederic Handel’s La Resurrezione: its genesis, dramatic structure, characterization and influence on his later works." Thesis, 1997. http://hdl.handle.net/2429/5916.

Full text
Abstract:
The oratorio, La Resurrezione (1708) is considered by many to represent the summary of George Frederic Handel's Italian compositions. This achievement would not have been realized without the support of Handel's young and ambitious Roman patron, Francesco Ruspoli. The money and effort that Ruspoli spent on the staging of this oratorio confirm that it was planned as the climax for the Easter musical festivities in 1708. The preliminary chapters of this thesis present the background to the presentation of La Resurrezione and include discussions on Handel's presence in Rome, his relationship with Ruspoli, the role of the Accademia dell' Arcadia, and a biography of Carlo Capece, the librettist of the oratorio. Musical issues relating to the oratorio are discussed in chapter four. These include: manuscript sources, the performers of the work, and Handel's musical response to Capece's libretto. The use of a buffo bass (and the notion of Lucifer as a comic character) is traced back to the mid-seventeenth-century. The focus of chapter five is on the music of La Resurrezione, and on examples of Handel's subsequent re-use of the music. As well, the stimuli that prompted Handel to refer to a particular borrowing source are examined. Often a similar dramatic situation prompted Handel's recollection of a previous source; at other times a comparable textual affect, a similar phrase or even a single word in common provided the stimulus for borrowing. The five borrowing groupings discussed in the chapter are chosen because they represent the various means that prompted Handel's recollection of a previous source. Each grouping is organized by an appropriate term which reinforces the argument that it is a textual word, phrase or affect that is the key to understanding the borrowings. A consideration of the borrowings highlights Handel's great talent for portraying people and varying dramatic situations.
APA, Harvard, Vancouver, ISO, and other styles
10

Knowles, William Archie. "A performer's analysis of the bass roles in selected Old Testament narrative English oratorios of George Frideric Handel." Thesis, 2003. http://hdl.handle.net/10392/254.

Full text
Abstract:
This document facilitates the study of the bass roles, including the bass arias and recitatives that are in the Old Testament English oratorios of George Frideric Handel. This study is largely dependent upon the Chrysander editions of the oratorios, however both the Bärenreiter and Novello editions are consulted where available. This work may serve as a reference for bass soloists, or vocal pedagogues in selecting bass oratorio arias and recitatives, and in study for preparation of a bass role in one or more of the selected oratorios. Ten oratorios were selected for this study, based on their dramatic emphasis, Handel's more mature compositional style, and the use of the English language. While all arias are discussed, recitatives were selected on the basis that they stand-alone and are not in dialogue with another character. The study is limited to ten of Handel's Old Testament English oratorios: Esther (1718-20 version and 1732 revision), Deborah (1733), Athalia (1733), Saul (1738), Samson (1741), Joseph and His Brethren (1743), Belshazzar (1744), Joshua (1747), Solomon (1748), and Jephtha (1751). The study in concerned with the dramatic function of each aria and recitative within the plot of the oratorio, as well as the range, tessitura, literary rhyme scheme (if applicable), and tonal structure of each aria and recitative. Compositional devices that are used in melodic construction, level of difficulty, and maturity of voice needed for performance will be also be discussed for each aria and recitative. Chapter 1 of the study is the introduction to the dissertation, including objectives, delimitations, need for study, basic assumptions, and related literature. Chapter 2 discusses Handel's compositional development from Germany, while in Italy, and finally in England. Chapter 3 is concerned with a historical overview of the genre of oratorio. Chapter 4 focuses on the bass roles and the arias and recitatives within the selected oratorios. Chapter 5 concludes the dissertation, makes observations and directs for further study.
This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from http://disexpress.umi.com/dxweb or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Handel, George Frideric, 1685-1759 Gloria"

1

George Frideric Handel. Mineola, N.Y: Dover Publications, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lee, Lavina. George Frideric Handel. New York: Rosen Pub. Group, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Rich, Alan. George Frideric Handel: Play by play. San Francisco, Calif: Harper Collins, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Burrows, Donald. Handel. New York: Schirmer Books, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Burrows, Donald. Handel. Oxford: Oxford University Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Burrows, Donald. Handel. New York: Oxford University Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Keates, Jonathan. Handel: The man and his music. London: Hamilton, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Handel, Messiah. Cambridge: Cambridge University Press, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Handel's Messiah: A celebration. London: V. Gollancz, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Luckett, Richard. Handel's Messiah: A celebration. San Diego, CA: Harcourt Brace, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Handel, George Frideric, 1685-1759 Gloria"

1

"Handel, George Frideric (1685–1759)." In Encyclopedia of Lesbian and Gay Histories and Cultures, 719–25. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-82.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

"George Frideric Handel (Georg Friedrich Händel) (1685–1759)." In The Classical Music Lover's Companion to Orchestral Music, 295–310. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-029.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Handel, George Frideric, 1685-1759 Gloria' for particular source types:
Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography