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

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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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2

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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3

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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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/.

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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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5

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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6

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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7

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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8

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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9

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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10

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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11

Chang, Young-Shim. "Reading Handel a textual and musical language of Acis and Galatea (1708, 1718) /." connect to online resource. Access restricted to the University of North Texas campus, 2005. http://www.unt.edu/all/Aug2005/chang%5Fyoung-shim/index.htm.

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12

Steyn, C., and EA Mare. "A survey of George Frideric Handel’s life, music and selected portraits with and without his wig: a contribution to the celebration of the Handel year." South African Journal of Art History, 2009. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001287.

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This year marks the 250th anniversary of the death of George Frideric Handel, one of the greatest composers of the Baroque period. There are and have been celebrations of his life and works world wide. Although he composed in every musical genre of his time, he is most famous for his oratorios, and in particular the Messiah. The details of his public life are well-known, but his private life remains obscure, especially in regard to his sexuality. It is of significance that he was associated with the Orpheus myth throughout his life, and also in one of his monuments. In the eighteenth century Orpheus was connected with both music and homosexuality. What the truth may be, Handel emerges as an even more human and interesting figure than ever. His authentic portraits are discussed in two sections: those with and those without his wig.
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13

Summers, William John. "George Frideric Handel in Rome as Seen From the Vantage Point of the ”Confraternita dei musici di Roma”." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38287.

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14

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/.

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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.
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15

Fuhs, Sarah. "Heinrich Brockes and Handel connections to a German past /." online version, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=case1216210857.

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16

Murray, Nina M. "Handel's notoriety as a borrower : plagiarism and English national identity /." Norton, Mass. : Wheaton College, 2009. http://hdl.handle.net/10090/8396.

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17

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/.

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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.
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18

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.

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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
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19

Robarts, Leslie Michael Martyn. "A bibliographical and textual study of the wordbooks for James Miller's Joseph and his brethren and Thomas Broughton's Hercules, oratorio librettos set to music by George Frideric Handel, 1743-44." Thesis, University of Birmingham, 2008. http://etheses.bham.ac.uk//id/eprint/188/.

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This thesis recovers the wordbooks for Handel’s oratorios from their neglect in literary and musical history. Taking Joseph and his Brethren and Hercules as samples, it shows the essential place of wordbooks in the original oratorio experience and challenges an editorial and performance practice which favours music over words. Chapter One presents editions of the wordbooks of Joseph and Hercules in order to offer a transmissional history, and Chapter Two reclaims the literariness of the librettos and demonstrates their effectiveness. Chapter Three examines the two librettos in the composer’s and copyist’s manuscript musical scores prior to first publication of the wordbooks and reveals verbal changes made during composition of the music. Chapter Four explores the significance of wordbooks for the booksellers of Joseph and Hercules and reconstructs aspects of wordbook production and consumption. Chapter Five identifies the wordbooks’ printer and places wordbook production in the context of book trade regulation and copyright. Chapter Six discusses the material identity of the wordbooks and the design principles which supported their reception. The thesis concludes that access to printed librettos is essential to redress the verbal-musical imbalance in contemporary performances of Handel’s oratorios.
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20

Mueller, Paul Martin. "An examination of George Frideric Handel’s “Let the bright seraphim” from Samson, Franz Joseph Haydn’s Concerto for trumpet in E flat major, Karl Jenkins’ Salm o Dewi Sant, and Erik Morales’ Concerto for trumpet in C and piano." Kansas State University, 2009. http://hdl.handle.net/2097/1416.

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Master of Music
Department of Music
Gary C. Mortenson
This Master’s report contains biographical, historical, and theoretical analysis as well as stylistic and technical considerations for the four works performed for the author’s Master’s recital on April 29th, 2009. The works are Handel’s aria “Let the Bright Seraphim” from Samson, Franz Joseph Haydn’s Concerto for Trumpet in E Flat Major, Karl Jenkins’ Salm o Dewi Sant, and Erik Morales’ Concerto for Trumpet in C and Piano.
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21

Tackett, Joshua Lucas. "A master’s vocal recital analyzing the historical and stylistic aspects of works by George Frideric Handel, Wolfgang Amadeus Mozart, Franz Schubert, Vincenzo Bellini, Giuseppe Verdi, Gaetano Donizetti, Reynaldo Hahn, and Michael Head." Kansas State University, 2014. http://hdl.handle.net/2097/18335.

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Master of Music
Department of Music, Theatre, and Dance
Reginald L. Pittman
The songs presented in this report are works I performed in my Master’s Recital on March 30, 2014. This report will take an in-depth analysis at the selected composers’ life and styles of writing and the works they created. The scores studied in this report include: “Thus saith the Lord: But who may abide” from George Frideric Handel’s Messiah, “Soave sia il vento” from Wolfgang Amadeus Mozart’s Cosí fan Tutte, “Liebesbotschaft,” “Ihr Bild,” and “Das Fischermädchen” from Franz Schubert’s Schwanengesang, Vincenzo Bellini’s “Vaga luna che inargenti,” Giuseppe Verdi’s “Il Poveretto,” Gaetano Donizetti’s “Che vuoi di più,” Reynaldo Hahn’s “Á Chloris,” “Si mes vers avaient des ailes,” and “L’Heure Exquise” from Chanson grises, and “Ships of Arcady,” “Beloved,” “A Blackbird Singing,” and “Nocturne” from Michael Head’s Over the Rim of the Moon.
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Mueller, Paul Martin. "An examination of George Frideric Handel's "Let the Bright Seraphim" from Samson, Franz Joseph Haydn's Concerto for Trumpet in E Flat Major, Karl Jenkins's Salm o Dewi Sant, and Erik Morales's Concerto for Trumpet in C and Piano." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1416.

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23

Willner, Channan. "Durational pacing in Handel's instrumental works : the nature of temporality in the music of the high Baroque /." 2005. http://www.channanwillner.com/.

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24

Pyn, Shiau Huey, and 蕭慧蘋. "The Study of Four Cleopatra Arias from Giulio Cesare by George Frideric Handel." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/01344265361333183157.

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25

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.

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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.
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Lester, Jason Matthew Olsen Stanford. "Antonio Montagnana Progression of a Handelian bass /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-11042006-163009/.

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Treatise (D.M.A.) Florida State University, 2006.
Advisor: Stanford Olsen, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-3-07). Document formatted into pages; contains 54 pages. Includes biographical sketch. Includes bibliographical references.
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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.

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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.
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Bazler, Corbett. "The Comedies of Opera Seria: Handel’s Post-academy Operas, 1738-1744." Thesis, 2012. https://doi.org/10.7916/D8DN4C7H.

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This dissertation explores the ways in which Handel’s late operas intersect with other forms of theater in mid-eighteenth-century London. It seeks to explain how certain comic features of these late works—from the lighter subject matter of the libretti to Handel’s unconventional musical settings—can be seen to echo the heated criticism leveled at Italian opera seria during this period, criticism usually voiced by satirical pamphlets and operatic parodies. It concludes that so-called "serious opera" was not always taken too seriously by London audiences, or even by Handel himself. Instead, opera reception in eighteenth-century London was much more complex, sometimes even contradictory: avid operagoers were often generous patrons of operatic burlesque, and considered ridicule, disruption, and laughter an integral part of their operagoing experience. By tracing the points of contact between Italian opera and British theatrical life, this dissertation examines the ways in which the "comedies" of opera seria, both as historical phenomena and as potentially fruitful sites for theoretical investigation, offer a new picture of the eighteenth-century dramma per musica.
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Bazler, Corbett. "The Comedies of Opera Seria: Handel's Post-Academy Operas, 1738-1744." Thesis, 2013. https://doi.org/10.7916/D8M90GW5.

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This dissertation explores the ways in which Handel's late operas intersect with other forms of theater in mid-eighteenth-century London. It seeks to explain how certain comic features of these late works--from the lighter subject matter of the libretti to Handel's unconventional musical settings--can be seen to echo the heated criticism leveled at Italian opera seria during this period, criticism usually voiced by satirical pamphlets and operatic parodies. It concludes that so-called "serious opera" was not always taken too seriously by London audiences, or even by Handel himself. Instead, opera reception in eighteenth-century London was much more complex, sometimes even contradictory: avid operagoers were often generous patrons of operatic burlesque, and considered ridicule, disruption, and laughter an integral part of their operagoing experience. By tracing the points of contact between Italian opera and British theatrical life, this dissertation examines the ways in which the "comedies" of opera seria, both as historical phenomena and as potentially fruitful sites for theoretical investigation, offer a new picture of the eighteenth-century dramma per musica.
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30

Szeker-Madden, Maria Anne Lisa. "The use of logic and rhetoric in Handel’s selection and adaptation of source material." Thesis, 2002. https://dspace.library.uvic.ca//handle/1828/10255.

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The issues surrounding Handel's borrowing practices have been the subject of much debate over the last three centuries. Unfortunately, the field is rife with contradictions, speculation, and theories that have only a limited applicability. This dissertation provides a new approach to the study of Handel's borrowing practices by applying a methodology that would have been familiar to Handel and the elite members of his audiences—one that employs the principles of Aristotelian logic, textual rhetoric and musical rhetoric. This type of methodology can be applied successfully to miscellaneous vocal to vocal borrowings that span the composer's entire career. The first part of the dissertation provides the background for the ensuing study by examining the educations of Handel and his audience members. Chapter 1 outlines the various curricula available during Handel's lifetime and confirms that Handel and his more privileged contemporaries followed one which featured instruction in Aristotelian logic, textual rhetoric and musical rhetoric. Chapter 2 verifies that students at various European centres studied these principles during their adolescent years. The final chapter of this part discusses each of these principles in detail and provides the raw methodological material for this study. The second part of the dissertation takes the principles gleaned from Part 1 and employs contemporary commentary to mould them into a viable methodology for the study of Handel's borrowing practices. The analyses included in this part not only provide comprehensive musical-rhetorical and musico-dramatic discussions, but also provide rigorous examinations of source and new poetic texts. Analysis of the poetic texts represents a vital first step in this study. It reveals the poetic themes of a source and its new version and establishes that it is the location (topos) of these themes within the categories of Aristotelian logic that determines the appropriateness of a source as well as the degree to which it is altered in a new work. Appendix 1 provides tables that summarise the analyses of Handel's borrowings from each chapter of Part 2. For the benefit of those unfamiliar with the vocabulary of Aristotelian logic, textual rhetoric and musical rhetoric, a glossary of all terminology as it is employed in this dissertation has been included.
Graduate
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31

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.

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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.
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32

Amirazodi, Poupak. "Die Werke Georg Friedrich Händels in Göttingen." Master's thesis, 2005. http://hdl.handle.net/11858/00-1735-0000-000D-F26D-9.

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33

MEI-HSIN, HSI, and 席美欣. "An Analysis and Interpretation of George Frideric Handel's Sonata in A minor for Alto Recorder and Basso Continuo, HWV362." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/03361799557900624635.

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碩士
臺北市立教育大學
音樂學系教學碩士學位班
99
George Frideric Handel（1685-1759）is one of the most important composers in late Baroque period. He is well-known for his vocal works, such as the oratorio “Messiah”, and instrumental works, including the orchestral suites “Water Music” and “Royal Fireworks Music”. Handel also composed many brilliant instrumental pieces, such as sonatas for violin and recorder. His six recorder sonatas are composed for alto recorder, while the basso continuo is played by cembalo. As Handel was skilled in basso continuo, there is an important interdependent relation between the melodic line of the recorder and the basso continuo in his recorder sonatas. Sonata in A minor for Alto Recorder and Basso continuo, HWV362, is a typical “church sonata”. The four movements of the sonata are combined with different styles. The tempi of the four movements “slow-fast-slow-fast” make each movement vividly distinct, while the overall sonata is fluent and passionate. The sonata is of great value for the research of church sonata. The thesis consists of six chapters. The first chapter covers the background, goal and methodology of the research. The second chapter analyzes the development of the recorder in the Baroque period, mainly on the introduction of the recorder, recorder music and its features. The third chapter discusses the characteristics of Handel’s compositions for recorder from aspects of his life and composing style. The fourth chapter analyzes the sonata based on form, tonality, style and basso continuo. The fifth chapter interprets the sonata according to discussions from the previous four chapters and author’s own viewpoints. The sixth chapter offers conclusion and author’s research thoughts. Keywords: Baroque period, recorder, Handel, church sonata
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34

Huang, Pei-Chi, and 黃珮淇. "An Analysis and Interpretation of George Frideric Handel's Neun Deutsche Arien for Soprano, one Solo Instrument and Basso Continuo, HWV202-210." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49hhk5.

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碩士
國立臺灣師範大學
音樂學系
103
German-British Baroque composer Handel’s Neun deutsche Arien for Soprano, one Solo instrument and Basso continuo, HWV202-210 is an unique music piece in Handel’s arias which is different from his operatic arias. This music work is vocal chamber music which was composed during 1724 A.D. to 1727 A.D. during the era of the rise of opera. All of the arias in Handel’s Italian style opera are both composed and sung in Italian. However, the difference between Neun deutsche Arien and Handel’s other operatic airas is that Neun deutsche Arien is an independent piece that does not belong to any opera. Handel introduced the German poems of the German poet Barthold Heinrich Brockes (1680-1740) into the establishment of trio sonata in this piece. This thesis mainly focuses on the interpretation, analysis, and music structure of Neun deutsche Arien and the exploration of the relationship between it's lyrics and music.
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35

CHANG, CHI-PEI, and 張琪珮. "An Analytical and Interpretative Study of Four Soprano Arias Selected from George Frideric Händel’s Messiah." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/acs27d.

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碩士
中國文化大學
音樂學系
105
This study will focus on the four arias selected from George Frideric Händel’s “Messiah” -Rejoice greatly, O daughter of Zion, How beautiful are the feet of them, I know that my Redeemer liveth, and If God be for us. The first chapter is an introduction. Including the research motivation and purpose, scope of studies and methods. The second chapter discusses about the Oratorio, the contents of “Messiah” , and Händel’s compositional background and interpretational of above mentioned four arias. The third chapter focuses on these four arias, the author will translate the lyrics into Chinese, analyze these arias, and describe how the author interpret and sing these arias. The fourth chapter is a final conclusion of this study and with a commentary
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