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1
Miller, Robin A. (Robin Annette). "The Prologue in the Seventeenth-Century Venetian Operatic Libretto: its Dramatic Purpose and the Function of its Characters." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277705/.
Повний текст джерелаАнотація:
The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.
2
MARGETTS, JAMES ANOR. "Echoes of Venice: The Origins of the Barcarolle for Solo Piano." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218894990.
Повний текст джерела
3
Calcagno, Mauro P. "Staging musical discourses in seventeenth-century Venice : Francesco Cavalli's Eliogabalo (1667) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050069g.
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4
De, Vivo Filippo Luciano Carlo. "Wars of papers : communication and polemic in early seventeenth-century Venice." Thesis, University of Cambridge, 2002. https://www.repository.cam.ac.uk/handle/1810/272055.
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5
Patierno, Carolina. "Miti allo specchio : Ero e Leandro, Piramo e Tisbe : dal testo alla scena, dalle fonti classiche alle riscritture del Seicento italiano." Thesis, Sorbonne université, 2021. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2021SORUL152.pdf.
Повний текст джерелаАнотація:
Le présent travail de recherche porte sur la réception des fabulae de Héro et Léandre et de Pyrame et Thisbé dans la littérature italienne du XVIIe siècle, en particulier dans quatre textes différents par genre, style et origine géographique : Gli amori infelici di Leandro ed Ero (1618), l'idylle de Giovanni Capponi, Hero et Leandro (1630) et La Tisbe, respectivement la «Favola maritima » et la «lieta favola» de Francesco Bracciolini, et Il Leandro (1679), le drame musical de Badovero-Pistocchi. La décision de mettre les deux mythes en relation étroite l'un avec l'autre se fonde sur certaines considérations exposées dans des études historico-philologiques faisant autorité sur l'origine du roman et de la nouvelle grecque (Rodhe 1876, Lavagnini 1921, Cataudella 1957) où les deux fabulae sont citées comme des exemples de proto-romans ou de proto-nouvelles en raison de la présence récurrente de topoi propres au roman hellénique. À partir d'une analyse thématique et rhétorique du « patrimoine génétique commun » aux deux mythes ou, mieux, du « noyau hellénique-romanesque » appartenant aux versions classiques de référence (Mus.; Ov., Her.18-19, Ov. Met., IV, 55-166), le parcours d’analyse des réécritures modernes des oeuvres à l’étude suit trois axes principaux : la vérification de l’idée de correspondance entre les deux mythes, déjà présente dans les versions anciennes, médiévales et de la Renaissance, ainsi que l’identification de leurs modalités d’expression dans les textes du XVIIe siècle ; l’analyse des processus de réécriture du mythe au sein des nouvelles métamorphoses baroques et des nouveaux hybrides scéniques, tant en référence à l'interaction entre le «noyau hellénique-romanesque», l'héritage tragique et les influences du genre idyllique et pastoral, qu’en ce qui concerne la relation entre le romanesque hellénique et le romanesque baroque ; la focalisation sur l'aspect herméneutique permettant de comprendre le sens nouveau assumé par le mythe pour les deux couples d'amants : clementia ou sententia ?The present research focuses on the reception of the fabulæ of Hero and Leander and of Pyramus and Thisbe in Seventeenth-century Italian literature, in particular in four texts differing by genre, style and geographical origin: the idyll of Giovanni Capponi, Gli amori infelici di Ero e Leandro (1618); the ‘favola maritima’ Hero e Leandro (1630) and the ‘lieta favola’ La Tisbe by Francesco Bracciolini; and the ‘dramma per musica’ Il Leandro by Badovero-Pistocchi (1679). The decision to place the two myths in close relationship with each other was inspired by some remarks found in authoritative historical-philological studies on the origin of the ancient Greek novel and the Greek novella (Rodhe 1876, Lavagnini 1921, Cataudella 1957) where the two fabulæ are cited as examples of proto-novels for the insistent recurrence in them of topoi proper to the Hellenic novel. Starting from an accurate thematic-rhetorical analysis of the 'common heritage', or rather, of the 'Hellenic-romance nucleus' belonging to the classic versions of reference (Mus.; Ov., Her. 18-19; Ov. Met., IV, 55-166), the course of the research in modern rewritings in question follows three main coordinates: verification of the idea of correspondence between the two myths, already found in the ancient, medieval and Renaissance versions, and identification of the ways in which it is expressed in seventeenth-century texts; analysis of the processes of rewriting the myth within the new Baroque metamorphoses and the new stage hybrids, both in reference to the interaction between the 'Hellenic-romance nucleus', tragic inheritance and influences of the idyllic and pastoral genre, as well as in regard to the relationship between Hellenic and Baroque romance; focus on the hermeneutic aspect within which to read the new meaning assumed by the myth: clementia or sententia for the two couples of lovers?
6
Karp, Jamie Marie. "The Changing Symbolic Images of the Trumpet: Bologna and Venice in the Seventeenth Century." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500135/.
Повний текст джерелаАнотація:
The trumpet is among the most ancient of all musical instruments, and an examination of its history reveals that it has consistently maintained important and specific symbolic roles in society. Although from its origins this symbolic identity was linked to the instrument’s limited ceremonial and signaling function, the seventeenth century represents a period in which a variety of new roles and identities emerged. Bologna and Venice represent the two most important centers for trumpet writing in Italy during the seventeenth century. Because of the differing ideologies at work in these cities, two distinctive symbolic images of the instrument and two different ways of writing for it emerged. The trumpet’s ecclesiastic role in Bologna and its participation in Venetian opera put the instrument at the service of two societies, one centered around the Church, and another around a more permissive state. Against the backdrop of the social and political structures in Venice and Bologna, and through an examination of its newly-emerging musical roles in each city, the trumpet’s changing identities during a most important point in the history of the instrument will be examined.
7
Lin, Thomas Wen Tsen. "Giasone's Travels: Opera and Its Performance in the Seventeenth Century." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467520.
Повний текст джерелаАнотація:
This dissertation presents an in-depth examination of Giacinto Andrea Cicognini and Francesco Cavalli’s Giasone (1649). Its premiere in Venice took the city by storm, generating such enthusiasm among opera audiences that the publisher Andrea Giuliani was forced to print two additional editions of the libretto that same year simply to meet widespread demand. In an industry that chewed up and spat out operas, one in which most productions had an effective shelf life of one year, Giasone would go on to be performed throughout Italy over the next forty years, ranging as far south as Palermo and as far west as Turin, until its final performance in Brescia, 1690. It was without a doubt the most performed stage work of the Seicento. The four decades between 1649 and 1690 saw many changes, both to a public opera economy and culture that were barely nascent in Venice when Giasone saw its first performance, and to the opera itself. Not only were words, verses, swaths of text, and even entire scenes cut, shifted, or added from city to city, Giasone was even revived under different titles from the 1670s onward.
Part 1 of my dissertation untangles the forty-five librettos, twelve scores, two scenari, and four prose editions associated with the opera. I divide these sources into groups of librettos and families of scores based on a combination of publication city, historical data, and most importantly the similarity or variation of content. This philological work sets the stage for Part 2, a close analysis of Giasone employing textual and musical methods that accounts for and explicates the dramatic nucleus of the work, one focused around continuities—of location, character focus, interlocution, and harmony. I show how despite the revisionary pressures exerted on it throughout its forty-year performance history, Giasone’s identity as a sentimental, at times ribald love story, remained intact. In doing so, I provide insight into some of the creative and artistic processes behind the composition of the seventeenth century’s most popular opera.Music
8
Hammerton, Rachel Joan. "English impressions of Venice up to the early seventeenth century : a documentary study." Thesis, University of St Andrews, 1987. http://hdl.handle.net/10023/2792.
Повний текст джерелаАнотація:
The first Englishmen to write about the city-state of Venice were the pilgrims passing through on their way to the Holy Land. Their impressions are recorded in the travel diaries and collections of advice for prospective fellow pilgrims between the early fourteenth and early sixteenth centuries, the most substantial being those of William Wey, Sir Richard Guylforde and Sir Richard Torkington, who visited Venice in 1458 and '62, 1506, and 1517 respectively. In the 1540s arrived the men who saw Venice as part of the new Europe--Andrew Borde and William Thomas. Thomas's study of the Venetian state emphasized the efficiency of its administration, seeing it as an example of constructive government, where effective organisation for the common good led directly to national stability and prosperity. The mid-sixteenth century saw the beginnings of Venice as a tourist centre; the visitors who came between 1550 and the end of the century described the sights and the people, the traditions and way of life. Fynes Moryson's extensive account details what could be seen and learned in the city by an observant and enquiring visitor. In addition to information available in first-hand accounts of Venice, much could be learned from the work of the late sixteenth-century English translators. Linguistic, cultural, geographical, historical and literary translations yielded further knowledge and, more importantly, new perspectives, Venice being seen through the eyes of Italians and, through Lewkenor's comprehensive work, The Commonwealth and Government of Venice, of Venetians themselves. Finally, to assess the general impressions of Venice and the Venetians, we consider the literature of the turn of the sixteenth-seventeenth century; what, and how much, of the three-hundred year accumulation of knowledge of the city and people of Venice had most caught the attention and imagination of the English mind, and how close was the relationship between the popular impression and the documentary information from which it had largely developed.
9
Pfost, Bodie. "The Trombone in A: Repertoire and Performance Techniques in Venice in the Early Seventeenth Century." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19710.
Повний текст джерелаАнотація:
Music published in Venice, Italy in the first half of the seventeenth century includes a substantial amount specifying the trombone. The stylistic elements of this repertoire require decisions regarding general pitch, temperament, and performing forces. Within the realm of performing forces lie questions about specific instrument pitch and compositional key centers. Limiting this study to repertoire performed and published in approximately the first half of the seventeenth century allows a focus on specific performance practice decisions that underline the expressive elements of the repertoire. Using the trombone in A allows the performer several advantages over using the trombone in B-flat. Matching the instrument to the music is more than good decorum, it yields a more effective performance of the rhetorical and expressive elements imbedded in the music, satisfying the goal of music in this early seventeenth-century “modern” style.
10
Henderlight, Justin. "Declamation in seventeenth-century English opera, or the nature of "recitative musick"." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42032.
Повний текст джерелаАнотація:
During the English Reformation, composers attempted to create a uniquely English take on opera, one rooted in dramatic elements and conventions tied to the English court masque of the earlier part of the century. One component essential to opera, recitative, was understood then and now to be an Italian invention, and though the Britons knew it to be an indispensible element of operatic style, they had only a passing acquaintance with its specific characteristics. Using stylistic features present in declamatory lutesongs from within masques and without, English composers attempted to develop their own brand of musical monody to fulfill the dramatic function of recitative in their operas. Traditionally, the stunted growth of this tradition has been explained by cultural and political factors alone; however, this study shows how the difficulties encountered while developing an English recitative tradition prevented composers from having the tools necessary for their operas to flourish. This fact is shown by examining the obstacles that had to be overcome when attempting to reconcile a rich, existing tradition of dramatic poetry with the demands of creating a moving and varied musical setting of the text. Further, an attempt is made to define the genre of English recitative and the breadth of style therein by examining the specific features of declamation in the major operatic works of Restoration England. The analysis further shows how the inconsistent degree of efficacy in these composers’ efforts prevented them from creating a conventionalized style of declamation applicable to all dramatic situations.
11
Vavoulis, Vassilis. "Antonio Sartorio - Giacomo Francesco Bussani : two makers of seventeenth century Venetian opera." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248993.
Повний текст джерела
12
Iwamoto, Tabita C. "Trouser Roles - The development of the role in opera from the seventeenth to twentieth century." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/music_theses/3.
Повний текст джерелаАнотація:
This document presents the development trouser role. The first part is concentrated in the seventeenth century when the use of castrati was the main business in church music. Later in the same chapter is presented the development of women in opera, which so far was not a common practice, and how and why they dominate the opera after the castrati were not an accepted practice anymore. The following chapters contain demonstrations of trouser role’s types. Each chapter is based in one role of an opera from a different period of history. From Gluck’s Orfeo ed Euridice to Strauss’ Der Rosenkavalier, the pants role is exemplified from a different point of view according to their importance in opera.
13
Wiese, Helen Lloy. "Lully's Psyché (1671) and Locke's Psyche (1675) : contrasting national approaches to musical tragedy in the seventeenth century." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42070.
Повний текст джерелаАнотація:
The English semi-opera, Psyche (1675), written by
Thomas Shadwell, with music by Matthew Locke, was thought at
the time of its performance to be a mere copy of Psyche
(1671), a French tragedie-ballet by Moliere, Pierre
Corneille, and Philippe Quinault, with music by Jean-
Baptiste Lully. This view, accompanied by a certain
attitude that the French version was far superior to the
English, continued well into the twentieth century.
This view is misleading; although the English play was
adapted from the French, both were representative of two
well-developed native theatrical traditions. Therefore,
though there are certain parallels, both in plot and in the
subject matter of some musical numbers, the differences in
structure, both of the drama and of the music, are more
significant.
This thesis is a comparative study of the two plays,
analyzing both their dramatic and musical structures, and
examining them both from the context of the two theatrical
traditions. It is concluded that the literary approach to
tragedy of French theater resulted in the separation of
drama and music, the latter relegated to the prologue, or to
end-of-act diversions called intercedes. This allowed Lully
to have great control over his music, and in Psyche (1671),
he was concerned with the form of each intermede as a whole
instead of striving for a variety of forms and ensembles
within individual songs. Most of his songs and dances are
solo airs in binary form; he makes little use of chorus and
ensembles. On the contrary, the music in Psyche (1675) on
many occasions was integrated with the plot, and was
scattered randomly throughout the play. This prevented
Locke from having artistic control over his compositions;
Shadwell, the lyricist, determined where the music would
occur, the ensembles to be used, and the moods of songs.
Shadwell and Locke were concerned with the variety in each
individual piece, rather than with unifying the overall form
of musical scenes, and the overwhelming majority of songs
have a combination of solo voice, ensembles, and chorus.
Therefore, Psyche is not an unoriginal copy, but is a
reinterpretation of the myth using the aesthetic of the
Restoration tragic theater.Arts, Faculty of
Music, School of
Graduate
14
Meredith, Victoria Rose. "The use of chorus in baroque opera during the late seventeenth century, with an analysis of representative examples for concert performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186254.
Повний текст джерелаАнотація:
The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.
15
Lee, Michael Duncan. ""Il vero di tante meraviglie" : Tasso's Armida and the power of fantasy in late seventeenth-century opera." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602558.
Повний текст джерелаАнотація:
The romance of Armida and Rinaldo, an episode in Torquato Tasso's epic poem Gerusalemme Liberata (1581), was a popular subject for adaptations in opera from the 1680s, and formed the basis for over sixty operas in the eighteenth century. This study examines the nature and appeal of the character of the enchantress Armida, both in its original poetic context and as a figure for later adaptation on the operatic stage. Tasso's poem, set in the First Crusade and written during the Counter-Reformation, contains overtones of cultural and religious conflict, as well as a fantasy of the re-integration of a divided community, The structure of the poem, Armida 's place in it, and the associations that underpin the character are discussed, as well as the reception of the work in the century following its publication. In the second half of the thesis, three of the first operatic treatments of this subject are discussed: Armide (1686) by Philippe Quinault and Jean-Baptiste Lully, La Gierusalemme Liberata (1687) by Giulio Cesare Corradi and Carlo Pallavicino, and Rinaldo and A/'mida (1698) by John Dennis and John Eccles. Each work, one French, one Italian, and one English, is found to approach the narrative and character from different perspectives, bringing to bear issues of social identity, theatrical form , cultural value and political imagery. The success of Armida as a subject for operatic adaptation is found to be due partly to the means with which the character supplied a range of expressive and representational practices, extending the virtuosic power of fantasy in epic poetry onto the stage
16
Atkin, Paul Andrew. "Opera production in late seventeenth-century Modena : The case of L'ingresso alla gioventù di Claudio Nerone (1692)." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531323.
Повний текст джерелаАнотація:
L'ingresso alia gioventù di Claudio Nerone (music: Antonio Giannettini, libretto: Giambattista Neri) was commissioned by Duke Francesco II d'Este for the formal entrance of his bride, Princess Margherita Farnese, into Modena on 9 November 1692. Set against a tense political environment that centred around issues of succession and government, this lavish gala production represented a statement of propagandist display and conspicuous 'court' celebration given in the somewhat contradictory context of the 'public' Teatro Fontanelli before honoured guests and an 'upper'-class ticket-buying public. In 1685, Duke Francesco had effectively contracted out opera in Modena to this privately-run theatre. While L'ingresso appeared to represent the culmination of this strategy, its indulgent extravagance seemingly caused the huge loss on production. Opera under Francesco came to an abrupt end. L'ingresso has since lain virtually untouched by musicologists; and while there have been a number of valuable studies into music under the duke (most noticeably with regard to oratorio, cantata, and instrumental music), there has been no in-depth study of opera. This thesis seeks to rectify this oversight by reporting upon opera production under Duke Francesco through a review of the Teatro Fontanelli archives, and a full reconstruction and audit of the L 'ingresso financial accounts. These not only offer an extraordinary insight into the administration and staging of L 'ingresso (and the cause of the loss suffered), but also identify the existence of a mutually beneficial policy that delivered opera for Francesco against a seemingly autonomous and potentially profitable Teatro Fontanelli through an accounting system which protected the impresario from his losses and liabilities on production. L 'ingresso thus presents a rare opportunity to document the mechanisms of opera patronage and production under Duke Francesco II d'Este, and to provide a valuable insight into the reality of provincial Italian opera towards the end of the seventeenth century.
17
Browne, Marilyn K. (Marilyn Kay). "Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278309/.
Повний текст джерелаАнотація:
The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.
18
Hagen, Emily. "Depicting Affect through Text, Music, and Gesture in Venetian Opera, c. 1640-1658." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157551/.
Повний текст джерелаАнотація:
Although early Venetian operas by composers such as Claudio Monteverdi and Francesco Cavalli offer today's listeners profound moments of emotion, the complex codes of meaning connecting emotion (or affect) with music in this repertoire are different from those of later seventeenth-century operatic repertoire. The specific textual and musical markers that librettists and composers used to indicate individual emotions in these operas were historically and culturally contingent, and many scholars thus consider them to be inaccessible to listeners today. This dissertation demonstrates a new analytical framework that is designed to identify the specific combinations of elements that communicate each lifelike emotion in this repertoire. Re-establishing the codes that govern the relationship between text, musical sound, and affect in this repertoire illuminates the nuanced emotional language of operas by composers such as Claudio Monteverdi, Francesco Cavalli, Antonio Cesti, and Francesco Lucio. The new analytical framework that underlies this study derives from analysis of seventeenth-century Venetian explanations and depictions of emotional processes, which reveal a basis in their society's underlying Aristotelian philosophy. Chapters III and IV examine extant documents from opera librettists, composers, audience members, and their associates to reveal how they understood emotions to work in the mind and body. These authors, many of whom were educated by Aristotelian scholars at the nearby University of Padua, understood action and emotion to be bound together in a reciprocal, causal relationship, and this synthesis was reflected in the way that they depicted affect in opera. It also guided the ways that singer-actors performed and audiences interpreted this music. In contrast, post-1660 Baroque operas from France and Italy express affect according to the musical conventions of the Doctrine of Affections (based in the ideas of René Descartes) and aim to present a single, clear emotion for each large semantic unit (recitative or aria). This paradigm does not hold true for operas composed before 1660; thus, this vibrant repertoire requires a new analytical approach that respects its pre-Cartesian musical aesthetics. Early Venetian opera composers express not just one, but many affects in each semantic unit. In their operas, musical sound interacts directly with text and dramatic action on a line-by-line basis to produce an unprecedented fluidity of emotional meaning. Chapter II describes a new analytical framework based in this understanding to reveal the means that librettists, composers, and performers used to communicate emotion in this repertoire. Chapters V through X contain hermeneutic and musical analyses (according to the method described in Chapter II) of case studies drawn from Venetian operas performed between 1640 and 1658. These chapters illustrate how this repertoire uses a flexible but well-defined system of musical and textual markers to convey characters' emotions. This new approach unlocks an aesthetic system that privileges the fluid, real-time emotional reactions of the individual in accordance with Aristotelian emotional understanding. In Chapters XI and XII, supporting information gleaned from seventeenth-century acting treatises, reception documents, and conduct books enables an examination of the singer's role in depicting these textual and musical representations of affect in performance. These two chapters address seventeenth-century views on affective communication through voice acting and physical gesture, together with recommendations for today's singers who perform this repertoire. In taking a systematic approach to the identification of specific textual, musical, and gestural means for communicating affect in early Venetian opera, this dissertation offers a new approach to analyzing and performing its dynamic emotional content.
19
Molina, Jiménez María Belén. "Literatura y Música en el Siglo de Oro Español. Interrelaciones en el Teatro Lírico." Doctoral thesis, Universidad de Murcia, 2005. http://hdl.handle.net/10803/10955.
Повний текст джерелаАнотація:
La tesis presenta dos partes. La primera sitúa el estudio en sus coordenadas histórico-artísticas. Además, expone los principios teóricos que rigen el posterior análisis textual (Musicología, Semiótica, Retórica, Poética y Literatura Comparada) y sus implicaciones con la Música. La segunda parte constituye el objeto de estudio principal de la tesis: el análisis de los textos de cuatro comedias de Calderón de la Barca insertas en el marco de la Fiesta Teatral barroca: Celos aun del aire matan, La púrpura de la rosa, El laurel de Apolo y El golfo de las sirenas. Centrando nuestra atención en las virtualidades musicales de la escritura calderoniana, defendemos la intencionalidad musical de estas obras ya desde la misma concepción de la historia. Junto a este objetivo fundamental, analizamos otros elementos de la dramaturgia de Calderón: argumentos, temas, tópicos y motivos, estructura dramática, diálogos, personajes, espacio, tiempo y los variados elementos musicales que aparecen.This Thesis contains two different parts: The first one places the research in its historical-artistic background. Besides, it states the theoretical principles which guide the textual analysis that follows (Musicology, Semiotics, Rhetoric, Poetics and Comparative Literature) and their relation to music.The second part consists of the main purpose of the Thesis research: the text analysis of four plays by Calderón de la Barca belonging to the musical court plays of Baroque Period: Celos aun del aire matan, La púrpura de la rosa, El laurel de Apolo and El golfo de las sirenas. Focusing on the potentalities of the Calderon´s writing, we support the musical intention of these works from the very conception of the plot. Together with this essential aim, we analyze other items of Calderon´s drama: plots, topics, commonplaces and motifs, dramatic structure, dialogues, characters, space, time and all the different musical elements which appear
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Westwater, Lynn Lara. "The disquieting voice : women's writing and antifeminism in seventeenth-century Venice /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3108124.
Повний текст джерела
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Stein, Louise K. "Music in the seventeenth-century Spanish secular theater, 1598-1690." 1987. http://catalog.hathitrust.org/api/volumes/oclc/67172074.html.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--University of Chicago, 1987.Typescript. "Musical examples": leaves 545-656. "Catalogue of extant seventeenth-century Spanish theatrical songs": leaves 457-544. Bibliography: leaves 657-674.
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Thorburn, Hugh Alexander (Sandy) Robert. "Seventeenth-century Venetian opera : the collaborative context of a commercial, synaesthesic art form. /." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=442479&T=F.
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Merling, Mitchell Frank. "Marco Boschini's La carta del navegar pitoresco art theory and virtuoso culture in seventeenth-century Venice /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/31532271.html.
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Vanherle, Francisca Paula. "Castrati : the history of an extraordinary vocal phenomenon and a case study of Handel’s opera roles for Castrati written for the First Royal Academy of Music (1720-1728)." Thesis, 2002. http://hdl.handle.net/2152/29851.
Повний текст джерелаАнотація:
Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production.text
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Parent, Beauregard Catherine. "Une rhétorique du dérèglement : représentation de la fureur dans Roland de Philippe Quinault et Jean-Baptiste Lully." Thèse, 2011. http://hdl.handle.net/1866/8524.
Повний текст джерелаАнотація:
Ce mémoire porte sur la représentation de la fureur dans la tragédie en musique "Roland" de Philippe Quinault et Jean-Baptiste Lully, créée en 1685. Il cherche à préciser, dans une perspective historique et rhétorique, les moyens littéraires, musicaux et scéniques par lesquels sont rendus les excès du personnage furieux sur la scène classique du second XVIIe siècle. Le premier chapitre vise à rassembler les figures mythiques de la fureur dans une perspective d’ordre historique, des origines antiques aux diverses reprises dramatiques du répertoire français, en passant par la célèbre épopée de l’Orlando furioso, rappelant ainsi les bases de la topique de la fureur. Il s’intéresse également au développement d’une esthétique de la fureur propre au genre dramatique, ainsi qu’à son rapport au sublime, idéal d’expression classique.
Guidé par la question de la représentation et de ses effets sur le spectateur, le second chapitre propose une analyse rhétorique de la scène de fureur dans Roland. L’étude de cette scène en fonction des différentes parties de la rhétorique – inventio, dispositio, elocutio et actio – démontre qu’une dynamique de contraste et d’alternance entre force et douceur se situe au cœur de la rhétorique du dérèglement qui conduit les représentations de la fureur.This dissertation addresses the representation of fury in Jean-Baptiste Lully and Philippe Quinault’s 1685 opera, Roland. It seeks to define the rhetorical means through which fury is conveyed on the classical stage of the second half of the XVIIth century, whether they be found in the music, text or staging. The first chapter considers the mythological figures of fury in a historical perspective, from ancient origins to the famous Orlando furioso and its numerous reinterpretations in the French dramatic repertoire, therefore gathering the basis of the topic of fury. This section also addresses the development of the aesthetics of fury, and its relation to the sublime ideal of classical expression. Guided by the idea of performance and of its effects on the audience, the second chapter studies Roland’s wrath in a rhetorical perspective. Following the traditional rhetorical divisions – inventio, dispositio, elocutio and actio –, the study of this scene shows that dynamics of contrast and balance between strength and softness lie at the core of the rhetoric of disturbance which conducts the representation of fury.