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Relevant bibliographies by topics / Handel, George Frideric, Handel, George Frideric

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Academic literature on the topic 'Handel, George Frideric, Handel, George Frideric'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Handel, George Frideric, Handel, George Frideric"

1

Burrows, D. "George Frideric Handel." Early Music XXI, no. 2 (May 1, 1993): 320–23. http://dx.doi.org/10.1093/em/xxi.2.320.

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Radice, Mark A. "Agrippina. George Frideric Handel." Opera Quarterly 10, no. 2 (1993): 177–82. http://dx.doi.org/10.1093/oq/10.2.177.

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Shewan, Rodney. "Orlando. George Frideric Handel." Opera Quarterly 10, no. 2 (1993): 182–84. http://dx.doi.org/10.1093/oq/10.2.182.

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Law, J. K. "Tamerlano. George Frideric Handel." Opera Quarterly 20, no. 1 (January 1, 2004): 112–15. http://dx.doi.org/10.1093/oq/kbh011.

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Graeme, R. "Rinaldo. George Frideric Handel." Opera Quarterly 20, no. 1 (January 1, 2004): 131–34. http://dx.doi.org/10.1093/oq/kbh016.

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Rishoi, N. "Alcina. George Frideric Handel." Opera Quarterly 20, no. 2 (April 1, 2004): 304–7. http://dx.doi.org/10.1093/oq/kbh038.

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Radice, Mark A. "Floridante. George Frideric Handel." Opera Quarterly 10, no. 3 (1994): 185–87. http://dx.doi.org/10.1093/oq/10.3.185.

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Pines, R. "Ariodante. George Frideric Handel." Opera Quarterly 13, no. 2 (January 1, 1996): 141–43. http://dx.doi.org/10.1093/oq/13.2.141.

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Law, J. K. "Giustino. George Frideric Handel." Opera Quarterly 13, no. 2 (January 1, 1996): 143–45. http://dx.doi.org/10.1093/oq/13.2.143.

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Graeme, R. "Rinaldo. George Frideric Handel." Opera Quarterly 17, no. 4 (January 1, 2001): 732–36. http://dx.doi.org/10.1093/oq/17.4.732.

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Dissertations / Theses on the topic "Handel, George Frideric, Handel, George Frideric"

1

Vickers, David. "Handel's performing versions : a study of four music theatre works from the "Second Academy" period." Thesis, n.p, 2007. http://ethos.bl.uk/.

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Smith, Martha Josephine Dick. "A choral director's guidebook to Handel's anthems : an historical and musical perspective /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10779176.

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Farrell, Jennifer Heather. "Ornament and the affections in the opera arias of George Frideric Handel." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2470.

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The performance of opera arias composed by George Frideric Handel in our modern day is complicated by the necessity of including improvised embellishments, which were a standard component of the eighteenth-century genre of opera seria. Furthermore, discussions concerning the concepts of historical authenticity and performance practice muddle the issue of preparing Handel's music for presentation. In recent years scholars have prepared ornamented versions of select Handel arias in consultation with eighteenth-century performance practice treatises and other contemporary materials that provide considerable insight into the purpose and execution of ornamentation in performances Handel himself oversaw. What remains relatively unexplored, however, is the relationship between eighteenth-century embellishments and the Baroque affections, or passions. The affections, or passions, were rationalized emotional states derived from the Greek and Latin doctrines of rhetoric and oratory which Baroque composers sought to evoke and express in their music. This study explores the correlation of Baroque affections with ornaments as a legitimate approach to the composition of embellishments for Handel's opera arias. The tradition of rhetoric, the conventions of late Baroque Italian opera seria as a form, and the practice of ornamentation as an integral part of these conventions are examined. The study also provides a survey of eighteenth-century literature concerning the relationship of the musical representation of affects and ornamentation. Lastly, a review of Handel's operatic career and of the plots of the Agrippina, Rinaldo and Rodelinda will provide a context for the preparation of "affective" ornamented versions of six arias from these operas. In closing, a brief discussion of the early music movement and of the debates surrounding the use of the term "authentic" in relation to historic performance practices will illuminate the relevance of the relationship between affect and ornament to twenty-first century performances.

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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/.

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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.

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Lee, Soo Eun Handel George Frideric. "Handel's Messiah : a Korean version /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11212.

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Faust, Veronica T. "'Music has learn'd the discords of the state' the cultural politics of British opposition to Italian Opera, 1706-1711 /." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/664.

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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.

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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.

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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.

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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

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Gruett, Jon David. "Handel's Saul on stage : the viability and validity of producing a staged dramatic presentation of a sacred oratorio in a church edifice as a non-traditional setting using Handel's Saul as a working production model /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11299.

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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.

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Books on the topic "Handel, George Frideric, Handel, George Frideric"

1

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

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

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3

Clary, Mildred. George Frideric Handel. East Hendred: Moonlight, 2002.

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4

Ludwig, Charles. George Frideric Handel: Composer of Messiah. Milford, Mich.: Mott Media, 1987.

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5

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

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6

Handel. Oxford: Oxford University Press, 1994.

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7

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

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

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

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10

Luckett, Richard. Handel's Messiah: A celebration. New York: Harcourt Brace, 1992.

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Book chapters on the topic "Handel, George Frideric, Handel, George Frideric"

1

"George Frideric Handel." In Master Classes with Menahem Pressler, 102–3. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvktrx3v.16.

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"GEORGE FRIDERIC HANDEL (GEORG FRIEDRICH HÄNDEL)." In The Classical Music Lover's Companion to Orchestral Music, 295–310. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.31.

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"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.

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4

Gudger, William D. "George Frideric Handel’s 1749 Letter to Charles Jennens." In Handel, 421–31. Routledge, 2017. http://dx.doi.org/10.4324/9781315093154-24.

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Frith, Uta. "Personal Spin D." In Defining the Discographic Self. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266175.003.0011.

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George Frideric Handel: Organ Concerto Opus 7 No. 1 in B flat major, Bourrée Allegro Engelbert Humperdinck: Ein Männlein steht im Walde from Hansel and Gretel Wolfgang Amadeus Mozart: Sonata for 4 hands in B flat major Franz Schubert: Schubert’s String Quartet No. 13 in A Minor...

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Harris, Ellen T. "Joseph Goupy and George Frideric Handel: From Professional Triumphs to Personal Estrangement." In Handel, 33–88. Routledge, 2017. http://dx.doi.org/10.4324/9781315093154-5.

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Wiseman, Debbie. "Personal Spin H." In Defining the Discographic Self. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266175.003.0021.

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George Frideric Handel: The Country Dance from Handel’s Water Music The Beatles: Eleanor Rigby Wolfgang Amadeus Mozart: Piano Sonata in Bb Major Olivier Messiaen: The Turangalîla Symphony, Finale Buxton Orr: Caledonian Suite—Allegro Leggiera Dave Grusin: The piano theme from the film On Golden Pond Claude Debussy: ...

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"“Was George Frideric Handel Gay?”: On Closet Questions and Cultural Politics." In Queering the Pitch, 167–216. Routledge, 2013. http://dx.doi.org/10.4324/9780203944189-16.

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Carter, Tim. "Nicola Francesco Haym and George Frideric Handel, Giulio Cesare in Egitto (London, 1724)." In Understanding Italian Opera, 68–107. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780190247942.003.0003.

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BOSTRIDGE, IAN. "Music, Reason, and Politeness: Magic and Witchcraft in the Career of George Frideric Handel." In Civil Histories, 251–64. Oxford University Press, 2000. http://dx.doi.org/10.1093/acprof:oso/9780198207108.003.0014.

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