Relevant bibliographies by topics / Music; Opera

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music; Opera'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Music; Opera"

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BELLINI, ALICE. "MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES." Eighteenth Century Music 6, no. 2 (August 3, 2009): 183–207. http://dx.doi.org/10.1017/s1478570609990030.

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ABSTRACT‘Meta-operas’, that is, operas portraying the world of opera and its protagonists (such as impresarios, music directors, librettists and virtuosi), became increasingly common during the eighteenth century. Most of the scholarly literature on meta-opera, however, concentrates on the operas' poetic texts, their librettos. Scholars have dealt with these operas about operas almost as though they were spoken dramas, without taking into account the many ways in which metatheatrical practices and conventions are made more complex by the presence of music.What do meta-operatic scores look like? Are they similar to other ‘ordinary’ scores of the same time, or do their metatheatrical techniques set them aside as special? Considering a number of eighteenth-century works, this article points out how specific musical means can contribute to the overall effect of meta-operatic plots: the stratified nature of meta-narratives is, in fact, mirrored in the scores when realistic music is performed on stage. On these occasions, the presence of more than one layer of musical performance (of music and ‘music’) can be detected in the score. Furthermore, the presence of realistic music allows for a highly flexible treatment of standard operatic practices, and a number of passages work across conventional oppositions such as recitative/closed number, ‘real-life’/‘performed’ and ‘spoken’/‘sung’. Meta-operas, therefore, offer a special perspective on the presence of realistic music in opera.
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Nicholls, David. "Virtual Opera, or Opera between the Ears." Journal of the Royal Musical Association 129, no. 1 (2004): 100–142. http://dx.doi.org/10.1093/jrma/fkh004.

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A number of authors, including John Covach and especially Edward Macan, have investigated the links between art music and progressive rock. This article builds on and extends such work by positing, defining, discussing and dissecting a hybrid genre I term virtual opera. Exemplified by such albums as The Who's Tommy (1969) and Quadrophenia (1973), Genesis's The Lamb Lies Down on Broadway (1974) and Frank Zappa's Joe's Garage (1979), each of which is subjected to detailed examination, virtual operas find their ideal site of performance between the ears of individual listeners, rather than on stage or screen. In each case, the aural and visual dimensions of the albums combine to create multi-layered musico-dramatic narratives, freed from the usual performance constraints associated with either opera or rock.
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Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (September 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.
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Rosand, Ellen. "Monteverdi's Il ritorno d'Ulisse in patria and the power of ‘music’." Cambridge Opera Journal 7, no. 3 (November 1995): 179–84. http://dx.doi.org/10.1017/s0954586700004559.

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What is music in opera? In Monteverdi's Orfeo, his first opera, music is arguably the protagonist, whether La Musica in the prologue, whose ritornello guides Orfeo to and from the Underworld, or embodied in the legendary singer himself, who uses his musical prowess to charm the guardians of Hell. In Il ritorno d'Ulisse, however, there is no such protagonist, no single embodiment of musical power. In the largest sense, of course, and in contrast to straight drama – the plays of Euripides, Shakespeare or Calderon may have some music in them but are essentially spoken – all of Il ritorno d'Ulisse, all of most operas, is music. But in Monteverdi's sense (and in the librettist Badoaro's), that music is divided into ‘speech’ and ‘song’ – or, speech-like and musical utterances.
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MCCLELLAN, MICHAEL E. "THE ITALIAN MENACE: OPERA BUFFA IN REVOLUTIONARY FRANCE." Eighteenth Century Music 1, no. 2 (September 2004): 249–63. http://dx.doi.org/10.1017/s1478570604000144.

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The Parisian premiere of Paisiello’s Nina, o sia la pazza d’amore on 3 September 1791 triggered a hostile reaction from French librettists and composers. Since the opéra comique on which Paisiello had based his opera remained in the active repertory of the Comédie-Italienne, Nina was considered an infringement of copyright legislation recently passed by the National Assembly. In the controversy that followed, matters involving intellectual property and opera aesthetics were linked to revolutionary struggle. At a time when clarity and transparency were identified as republican virtues in France, the carefully wrought balance between music and text that was associated with French operatic genres acquired new political resonance. Simultaneously, the perceived emphasis on sensual musical pleasure – at the expense of a coherent libretto – in Italian operas like Nina was eyed with suspicion, deemed a potential symptom of counterrevolution. In this way, the relative merits of French and Italian opera were superimposed on issues of revolution, reaction and national identity.
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Everist, Mark. "The Music of Power:." Journal of the American Musicological Society 67, no. 3 (2014): 685–734. http://dx.doi.org/10.1525/jams.2014.67.3.685.

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Music for the stage has always been embedded in a network of power relationships between states, impresarios, librettists, artists, entrepreneurs, and composers. This article seeks to understand and explain how these relationships functioned in the period when French music drama was subject to a system of licenses, 1806–64. At the center of the inquiry are institutional structures and their relationship to those responsible for both the creation and the cultivation of stage music in the period. They explain the context for the cultural agents and products not only of the main opera houses in nineteenth-century Paris—the Opéra, the Opéra-Comique, and the Théâtre-Italien—but also of the host of smaller, shorter-lived institutions that supported and promoted opera during the period.
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Ladič, Branko. "Karl Goldmark und seine letzten Opernwerke." Studia Musicologica 57, no. 3-4 (September 2016): 325–48. http://dx.doi.org/10.1556/6.2016.57.3-4.3.

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Karl Goldmark (1830–1915) was undoubtedly one the most influential composers of the Austro-Hungarian Empire, and through his first opera – The Queen of Sheba – he was also very well-known abroad. This opera, with its very fashionable oriental subject, was first performed in Vienna in 1875 and was one of the greatest successes of the period. After Merlin (1886) and The Cricket on the Hearth (1896), a “song-opera” strongly influenced by the Biedermeier-period, Goldmark wrote three operas over the next ten years. A Prisoner of War (libretto E. Schlicht, premiered in 1899 in Vienna) was based on one episode of the Iliad. In this short opera the composer tried to express the change of Achilles’ soul, but he mostly failed due to a relatively weak and conventional libretto and vague musical style. In the following opera, Götz von Berlichingen (libretto A. M. Willner, premiered 1902) the libretto is also the weakest element of the work and the whole opera reminds one of Meyerbeer ’s operas. The composer found a renewed inspiration during the work on his last opera – The Winter’s Tale (libretto by Alfred Maria Willner after Shakespeare, premiered in 1907 in Vienna). This fairy tale opera is full of interesting musical moments and elements written in Goldmark’s late style and is still attractive for the opera-going public.
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Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.

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ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
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Rathey, Markus. "Setting the Stage: Drama, Libretti and the ‘Invention’ of Opera in Leipzig in the 1680s." Cambridge Opera Journal 29, no. 3 (November 2017): 287–311. http://dx.doi.org/10.1017/s0954586718000010.

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AbstractThe opera house in Leipzig opened its doors in 1693. Operas had been performed in central Germany for quite some time but they were primarily confined to courts. With the founding of the opera, Leipzig, home of an important trade fair, provided an additional musical attraction that could entertain merchants coming for the fair. While the year 1693 marks the beginning of regular opera performances in Leipzig, the preceding decades saw an increased interest in dramatic genres in the realms of both secular and sacred music. The connection between these dramatic works and the opera house are not just circumstantial. Some of the key players in the opera business in Leipzig were involved in these earlier pieces as well, especially the poet Paul Thymich, the first librettist for the Leipzig opera, who provided the majority of texts for the drammi per musica, Singspiels and sacred cantatas.
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LÜTTEKEN, LAURENZ. "NEGATING OPERA THROUGH OPERA: COSÌ FAN TUTTE AND THE REVERSE OF THE ENLIGHTENMENT." Eighteenth Century Music 6, no. 2 (August 3, 2009): 229–41. http://dx.doi.org/10.1017/s1478570609990017.

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ABSTRACTAmong the operas on which Mozart and Da Ponte collaborated, Così fan tutte is a special case. In some ways, the libretto is more conventional than those provided for Le nozze di Figaro or Don Giovanni, and Mozart was not the first composer asked to set it. To understand the work best, it is necessary to read the text closely. This article concentrates on a few, highly significant characteristics – in particular, the locations in which the opera takes place. Such details provide the foundations for surprising insights into the opera. First, the libretto deals with central issues in eighteenth-century aesthetics, but the mechanist philosophy that informs the plot (reminiscent of that theorized by Julien Offray de La Mettrie in L'Homme machine) defuses these issues over the course of the action. Secondly, the music that turns the libretto into an opera resonates with specialist issues of eighteenth-century music aesthetics, often to turn them, once again, on their heads. In the last analysis, Così fan tutte is an opera in which both text and music question truth and reliability, and the consequences are serious for the opera, for music and for the very Enlightenment itself.
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Dissertations / Theses on the topic "Music; Opera"

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Keith, Mathieu. "Collaboration in Opera Composition : Writing an opera with three composers." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79129.

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Music is full of collaboration, between composers and musicians, musicians with each other, or composers with directors, to name a few. Not as commonly found are collaborations between multiple composers. Some works, such as Hexameron, (Liszt, 1839) were written as variations on a theme by several composers, but even rarer are single works written collaboratively by multiple composers. How would one set out to create a work with multiple composers? Can a group of composers collaborate to create a single, unified vision with a similar voice? What obstacles would arise from such a project? This thesis sets to answer these questions and more, and details the process in which myself and two composers created an operetta in three acts. We will walk through every step of our journey, from the first meeting to the writing process to the final product and concert. The aim of this thesis is to explore how a collaboration of composers can work, the problems that may arise and how to potentially avoid them. If these aims are achieved, this thesis may serve as guidelines for other composers wishing to collaborate on similar projects.
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Sairanen, Anna Pauliina. "Mental training in opera." Thesis, Stockholms konstnärliga högskola, Operahögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-623.

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I started thinking about mental training in singing quite late in my studies. I had many problems with my nerves when I was at the beginningof my professional studies. I remember having a course for three months that was called ”Performancetraining”. When I look back the only thing I remember from that course is what not to do and getting even more nervous when walking on the stage. I remember thinking that I cannotdo this, I will never be a good singer. I have luckily had good singing teachers who have had a lot of time, understanding, commitment and compassion towards me. I have managed to control my nerves and learned to love to perform.What happens if a singingteacher cannotsolve these problems? I myself have studied to be a singing teacher and during my studies I have never faced the challenge to solve these kinds of difficulties. It requires a good understanding in the human psyche to train people to reach their very best and to overcome traumas that prevents us to perform on our best. It takes a whole village to raise a child, as the saying goes. So why should the training of the voice, becoming a great individual performer and artist, rely on the shoulder of the singing teacher? When I think about the singing lessons, shouldn ́t most of the time be spend on training the voice, exercising the muscles that help us to sing? Have you ever heard a football player going to the practise and spending 50% of that timein solving problems they have faced? Probablynot. I’m notsaying that football players don’t have problems they feel are holding them back in playing football and performing at their best. They just have another time and place to fix these problems. Thiswork happens with the mental trainer.
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Cutileiro, Tiago. "Opera and non-narrative music." Doctoral thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/12013.

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Nos últimos vinte-cinco anos, o termo narrativa tem sido um ponto preponderante de discussão musicológica. Os musicólogos que preferem evitar o termo definem narrativa como uma impossibilidade musical ou então consideram-na presente, como refere Carolyn Abbate, em todas as músicas composta por sequências de eventos sonoros (1989, p. 227) e, por esta razão, uma inútil máquina para definir toda e qualquer música (1991, p. xi). Mesmo aceitando a ideia de Abbate, o conceito de música narrativa torna-se, ainda assim, essencial para compreender um modelo musical muito menos comum e bastante recente que propositadamente evita todos os elementos musicais que possam induzir uma sensação de narrativa musical. Esta música pode ser denominada de não-narrativa. A música não-narrativa é assim definida por oposição à música narrativa. 0 que é problemático na música não-narrativa, para além da necessária adopção de uma atitude de escuta adequada, é a sua conjugação com elementos que preservam laços narrativos --i.e., o texto cantado e a encenação dramática. A composição de uma ópera exclusivamente alicerçada em música não-narrativa é, por conseguinte, um exercício estilístico e um desafio de composição para preservar quer o movimento linear do texto quer a essência de temporalidade estática da música não-narrativa; Abstract: In the last twenty-five years, the term narrative has been na importante point of discussion in musicology. Scholars who prefer to avoid the term consider narrative either impossible in music or, as Carolyn Abbate remarques, na elemento that can be found in "any music with sequences of events" 1989, p.227) and, for this reason, a useless "machine for naming any and all music" (1991, p. XI). Even ifagreeing with Abbate's claim, the concept of narrative music becomes nevertheless essential to understand a much less common and very recente music that purposelyu avoids any elemento that could induce narrativity in music. This music can be classified as non-narrative.Non-narrative music is, thus, defined through the opposing concept of narrative music. What is problematic in non-narrative music, besides the adoption of na adequate listening stance, is its use with elements that themselves preserve narrative threads - i.e., sung texto and/or staged drama. The composition of na opera exclusively grounded on non-narrative music is therefore a stylistic exercice and a compositional challenge to preserve both the verbal text´s ongoing motion and non-narrative music's essence of temporal stasis.
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Sauer, Vincent Philip. "Short Opera for Five Voices." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1490715372901732.

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Clem, Paul. "The composition, a chamber opera." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2384.

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The Composition is a chamber opera for nine musicians and from four to eight actors. The work is approximately thirty-five minutes long and consists of seven short pieces of music separated by dialogue. The subject of the libretto is a composer with writer's block. During the course of the piece, seven figures make appearances to the composer who personify various philosophies of musical aesthetics. An argument for a particular viewpoint is presented to the composer through dialogue, and the composer then attempts to write a piece of music using that philosophy as a guide. The audience then hears this music being played by the ensemble. This process is repeated until all seven aesthetics have been presented. In conjunction with the composed music, an attached research paper analyzes the techniques used in writing the music and gives examples of prominent composers associated with each of the seven schools of thought.
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Segura, Antonio. "Opera i Stockholm, Frihamnen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34151.

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Projektets ide är främst att göra byggnaden till en spektakulär och funktionell upplevelse förbesökarna. Varför är detta förslag den bästaför den här platsen? För att den är intressant och blir som ett märke och symbol för Stockholm som Sydneyoperan är för Australien. Dessutom kopplar den till omgivningen med sitt reflekterande fasad och den skapar en ny och spännande inre miljö för besökarna. När man har ett så stort program som detta projekt har bör man ta chansen att skapa att skapa monumentala rum och intresseväckande former. Speciellt om operan ska kunna konkurrera med resten i Norden.
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Golden, Carol Anne. "Venerable Doe. [Original opera]." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185390.

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This work is a setting of "Venerable 'Doe,' " and original story and libretto by the composer. "Venerable 'Doe' " is the temporary appellation of Javanese music spirit whose true name is not known. It is also the name of the gamelan over which the spirit reigns and in whose pusaka gong he resides. The work combines traditional Western dance, instruments, orchestration, notation and theory and traditional Javanese court dance, instrument, instrumentation, performance practice and theory with the composer's innovations created to facilitate the combining of two divergent worlds of music. The language of the libretto and the selection of pitch material have been determined by an original, extended, soggetto cavato technique. This technique accommodates all letters of the English alphabet and all pitch classes of both the Western and Javanese scales used in the work. While the soggetto cavato technique expands upon techniques used in the works of J. S. Bach, Venerable Doe's continuous rather than sectional deportment, devotion to symbolism and personification of specific sound patterns as 'motives' continue innovations of Richard Strauss. Venerable Doe is an opera containing two major formal divisions, a fantasy-ballet "Overture," the score of which constitutes the "original composition" portion of this dissertation, followed by four acts of the opera's main body. The "Overture" is designed to be performed with the main body of the opera or as an independent composition. The programmatic content of the "Overture" is drawn from the first half of the story, "Venerable 'Doe,' " while the program of the four acts is from the second half. The work is set in English, and uses Javanese terminology, as well as Swedish, German and Latin translations of Psalm 23. It is scored for full Western orchestra, Javanese gamelan, chorus, soloists, Western and Javanese dancers. Lighting, costuming, dance, stage and visual projection directions appear on the score and in preliminary pages.
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Peat, Richard. "Representing children in opera." Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17966/.

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This study is a survey of how composers have represented children in opera from the late nineteenth century onwards. Operatic roles for children are analysed from a primarily technical perspective, with those written specifically for children's voices presented alongside those intended for adults playing children; then the relative merits of each approach is considered. A chronological list of child roles can be found in the introduction. Chapter 1 evaluates the ways in which opera composers have approached writing for children's voices; extracts from monologues, dialogues, ensembles and solos with instrumental accompaniment are analysed. Chapter 2 explores methods by which composers have evoked notions of childhood; examples of songs, nursery rhymes, lessons, learning, scale, fantasy, and tantrums are discussed. Chapter 3 treats the musical representation of the notions of innocence and experience in children's roles. Chapter 4 offers the author's recent opera, I'm the King of the Castle. as a case study in its use of many of the notions explored in the preceding chapters.
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Carlile, Solfa. "Characterisation in contemporary opera and music theatre." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:dd3468ba-dba6-49c2-88d4-82c2bb23af5c.

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This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.
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Venables, Philip. "'4.48 Psychosis' : opera as music and text." Thesis, Guildhall School of Music and Drama, 2016. http://openaccess.city.ac.uk/19415/.

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This is a practice-based research project about a new operatic adaptation of Sarah Kane’s 4.48 Psychosis (Methuen, 2000). The opera was written and the research conducted during a three-year Doctoral Composer-in-Residence scheme with the Guildhall School of Music & Drama (GSMD) and the Royal Opera House (ROH). This commentary, together with the score and supporting materials, outlines various compositional approaches to working with non-sung text in opera. This research expands the composer’s previous practice of working with spoken text in concert music, and places this opera in the context of that previous work and the work of other composers, theatre-makers and electronic music artists. Five specific approaches to non-sung text are discussed in detail, always with reference to the dramaturgy of Kane’s text and drawing on examples from the opera: four concerned with spoken text (the ‘Opera Thought-Bubble’, Voiceover, Mid-phrase Switching, Tape-cutting) and one concerned with visually-presented text (Percussion Dialogues). The five approaches are evaluated in context of the premiere performances of the opera in May 2016, and the potential for further practice-based research on this topic is discussed.
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Books on the topic "Music; Opera"

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Riggs, Kate. Opera music. Mankato, Minn: Creative Education, 2008.

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Matthews, Stephen Ralph. Contemporary opera & music. [Wellington, N.Z: The Winston Churchill Memorial Trust, 1998.

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Brasch, Nicolas. Classical music and opera. North Mankato, MN: Smart Apple Media, 2004.

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Ombra: Supernatural music in the eighteenth century. Lanham, Md: Lexington Books, 2012.

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Susie, Harries, ed. Opera today. London: M. Joseph, 1986.

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Susie, Harries, ed. Opera today. New York: St. Martin's Press, 1986.

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On opera. New Haven [Conn.]: Yale University Press, 2006.

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Shakespeare & opera. New York: Oxford University Press, 1990.

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Living opera. Oxford: Oxford University Press, 2010.

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Schmidgall, Gary. Shakespeare & opera. New York: Oxford University Press, 1990.

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Book chapters on the topic "Music; Opera"

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Baroque Opera." In Anthology to Accompany Gateways to Understanding Music, 48–59. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-19.

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Brunt, Lodewijk. "Crime at the Opera House." In Crime and Music, 73–86. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49878-8_5.

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Beranek, Leo. "Music and Acoustics." In Concert Halls and Opera Houses, 1–18. New York, NY: Springer New York, 2004. http://dx.doi.org/10.1007/978-0-387-21636-2_1.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Classical-Period Opera." In Anthology to Accompany Gateways to Understanding Music, 109–13. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-26.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Nineteenth-Century Opera." In Anthology to Accompany Gateways to Understanding Music, 171–89. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-33.

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Matsumoto, Naomi. "L’opera dei pupi, torneo, and early opera." In Music as Heritage, 42–60. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: SOAS musicology series: Routledge, 2018. http://dx.doi.org/10.4324/9781315393865-3.

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Bollobás, Béla. "Opera and music–A mathematician’s view." In Art in the Life of Mathematicians, 12–53. Providence, Rhode Island: American Mathematical Society, 2015. http://dx.doi.org/10.1090/mbk/091/03.

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Hautsalo, Liisamaija. "Expanding professionalism in and through Finnish local opera." In Expanding Professionalism in Music and Higher Music Education, 1–15. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003108337-2.

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Poeldinger, Walter. "Aggression And Autoaggression in the Opera." In Music and the Mind Machine, 183–87. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-79327-1_18.

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van Boer, Bertil. "Opera in France, Germany, and Elsewhere." In Music in the Classical World, 144–69. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315145570-7.

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Conference papers on the topic "Music; Opera"

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Ringendahl, Elisa. "Lied versus Oper – Pole musikalischer Gattungen bei Oscar Bie." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.70.

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A comparison of Oscar Bie’s monographies Die Oper and Das deutsche Lied shows that opera and ‘Lied’ are two extremes in Bie’s understanding of musical genres. While opera according to Bie is an “impossible work of art” which arises from countless contradictions, the low-conflict ‘Lied’ forms an opposite pole. Bie’s perception influences the way he deals with the two genres in writing: while opera is suitable for an adequate feuilleton, ‘Lied’ is not. Bie’s comparison gives him the possibility to break with established patterns of genres. It becomes apparent that for him opera takes on a special role in that it represents the culmination of the basic features of music. As a critic, Bie demands utmost congruence between object and written representation. Writing about music means to be an artist who deals with the same work of art but in another medium.
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Van, Kesin. "Bel Canto's Influence on the Development of Modern Chinese Opera Singing." In All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-98545.

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Since the emergence of bel canto in China, traditional Chinese singing has been greatly influenced. Modern Chinese opera not only inherits the essence of Chinese national music, but also includes the unique vocal abilities of bel canto. It is thanks to Chinese national music and bel canto, which give Chinese opera singing in modern opera a whole new artistic experience that makes contemporary Chinese opera singing aimed at diversified development. The article analyzes the direction of development of bel canto in the field of Chinese art and the influence of bel canto on the direction of development of Chinese opera singing. Clarify the direction of development of the Chinese operatic art.
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Islam, Rashedul, Mingxing Xu, and Yuchao Fan. "Chinese Traditional Opera database for Music Genre Recognition." In 2015 International Conference Oriental COCOSDA held jointly with 2015 Conference on Asian Spoken Language Research and Evaluation (O-COCOSDA/CASLRE). IEEE, 2015. http://dx.doi.org/10.1109/icsda.2015.7357861.

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Li, Jing. "Application of National Opera Singing Techniques on Vocal Music." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.80.

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Yue, Shengdong. "Brief Discussion on Historical Evolution of Sichuan Opera Tune Music." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.158.

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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Haiyan, Xu. "The utilization of traditional music culture in contemporary local opera of China—a case study of Sizhou Opera." In Proceedings of the 2019 3rd International Conference on Education, Culture and Social Development (ICECSD 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icecsd-19.2019.26.

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Wang, Jingjing. "Application of opera rehearsal to promote exploration of vocal music teaching." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.92.

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Marcaletti, Livio. "»Strafspiel« und satirische Stilmittel in musikdramatischen Gattungen des frühen 18. Jahrhunderts." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.63.

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The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal works with the help of Gérard Genette’s category of “burlesque travesty” which describes the stylistic degradation of a tragic-heroic subject as a satirical function. This stylistic mixture is achieved by the use of specific musical devices, which are shown in this article on the basis of case studies on music by Francesco Bartolomeo Conti, Johann Sebastian Bach and Georg Friedrich Händel.
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Hong, Yan. "Fusion Analysis of Modern Music and Classical Opera Considering Fourier Algorithm Analysis." In 2019 12th International Conference on Intelligent Computation Technology and Automation (ICICTA). IEEE, 2019. http://dx.doi.org/10.1109/icicta49267.2019.00017.

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Reports on the topic "Music; Opera"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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