Thematische Bibliographien / Die Zauberflöte

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Auswahl der wissenschaftlichen Literatur zum Thema „Die Zauberflöte“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Die Zauberflöte"

Brouwers, Toon. „Die Zauberflöte zonder Toverfluit“. Documenta 31, Nr. 1 (16.04.2020): 85–87. http://dx.doi.org/10.21825/doc.v31i1.16198.

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Hamilton, David. „Die Zauberflöte, K. 620“. Opera Quarterly 8, Nr. 3 (1991): 234–45. http://dx.doi.org/10.1093/oq/8.3.234.

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Durand-Barthez, Manuel. „Die Zauberflöte : tradition et reflets“. Cahiers d’études germaniques 72, Nr. 72 (05.04.2017): 171–84. http://dx.doi.org/10.4000/ceg.431.

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Glasow, E. Thomas. „Die Zauberflöte. Wolfgang Amadeus Mozart“. Opera Quarterly 7, Nr. 1 (1990): 220–22. http://dx.doi.org/10.1093/oq/7.1.220.

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Buch, David J. „Fairy-Tale Literature and "Die Zauberflöte"“. Acta Musicologica 64, Nr. 1 (Januar 1992): 30. http://dx.doi.org/10.2307/932991.

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Lösel. „Monostatos: Racism in Die Zauberflöte“. Soundings: An Interdisciplinary Journal 102, Nr. 4 (2019): 275. http://dx.doi.org/10.5325/soundings.102.4.0275.

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Kerry, Paul E. „Modelling the late German Enlightenment inDie Zauberflöte“. Oxford German Studies 34, Nr. 1 (April 2005): 47–64. http://dx.doi.org/10.1179/007871905x50260.

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Maurer Zenck, Claudia. „Einige ungewohnte Bemerkungen über die "Zauberflöte" oder: Pamina walzt, Tamino sitzt im Wirtshaus“. Die Musikforschung 57, Nr. 1 (22.09.2021): 36–55. http://dx.doi.org/10.52412/mf.2004.h1.653.

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Die Dramaturgie in Wolfgang Amadeus Mozarts "Zauberflöte", insbesondere das Verhalten Taminos Pamina gegenüber, ist von einer psychologischen Unlogik geprägt. Zum einen geht dies sicher auf das Libretto Emanuel Schikaneders zurück, zum anderen ging es Mozart darum, das Publikum mit Komik zu konfrontieren. bms online (Oliver Schöner)

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RATHEY, MARKUS. „MOZART, KIRNBERGER AND THE IDEA OF MUSICAL PURITY: REVISITING TWO SKETCHES FROM 1782“. Eighteenth Century Music 13, Nr. 2 (16.08.2016): 235–52. http://dx.doi.org/10.1017/s1478570616000063.

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ABSTRACTWhen Beethoven praised Mozart's Die Zauberflöte, he emphasized the multitude of musical styles and genres to be found in the opera, ranging from folk tunes to arias to hymn-like textures. The most extraordinary stylistic and generic allusions occur during the ‘Song of the Armoured Men’ in Act 2. This movement owes its extraordinary character to a ‘baroque’ accompaniment and a Lutheran-hymn quotation, the source and meaning of which continue to be discussed in Mozart research. While scholars have often suggested that Mozart took the hymn melody from Johann Philipp Kirnberger's Die Kunst des reinen Satzes in der Musik (where it is quoted without its text), Reinhold Hammerstein argues that because the composer also appears to have known the hymn's text, he must have encountered the melody elsewhere. This article, based on a study of Mozart's sketches for Die Zauberflöte and a close reading of Kirnberger's writings, supports the thesis that Mozart borrowed the hymn melody – and significant details of his setting of it in the ‘Song of the Armoured Men’ – from Die Kunst des reinen Satzes in der Musik.

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Dennis F. Mahoney. „Die Zauberflöte: Oper und Mysterium (review)“. Goethe Yearbook 14, Nr. 1 (2006): 252–54. http://dx.doi.org/10.1353/gyr.2011.0432.

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Dissertationen zum Thema "Die Zauberflöte"

Bertozzi, Michela. „Proposta di traduzione dal tedesco di quattro arie dal Singspiel "Die Zauberflöte" di W.A. Mozart“. Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.

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Nel presente elaborato, si è scelto di addentrarsi nel mondo della traduzione per l'opera. Vengono proposte due traduzioni, rispettivamente una traduzione "cantabile" e una traduzione letteraria, per ciascuna delle quattro arie estratte dal Singspiel "Die Zauberflöte" ("Il Flauto magico") di W.A. Mozart, su libretto di E. Schikaneder. Le traduzioni sono seguite da un commento a motivazione delle scelte traduttive e introdotte da un capitolo dedicato alla traduzione in ambito operistico, nonché da una breve analisi dell'opera in questione, passando per le sue origini e i suoi contenuti.

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Slingting, Allison. „German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3170.

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In this thesis I consider Karl Friedrich Schinkel's The Hall of Stars in the Palace of the Queen of the Night (1813), a set design of Die Zauberflöte (The Magic Flute), in relation to female audiences during a time of Germanic nationalism. Although Schinkel is customarily known as the great modern architect of Germany, his work as a set designer is exceedingly telling of his feelings toward the political and geographical unification of the Germanic regions. Through his set designs, Schinkel successfully used the influential space of the theatre to articulate not only nationalism, but positive female empowerment in his allegorical depiction of woman. However, the popularity of the theatre as an educational tool for women during the early nineteenth-century has remained largely overlooked. Additionally, the evil nature of the Queen of the Night in Emanuel Schikaneder's libretto has made the differentiation of Schinkel's positive figural interpretation essentially unnoticed. Though scholars have addressed Schinkel's aesthetic in terms of nationalism, the incorporation of allegorical women into his work and their responsibilities within this movement remains understudied. This thesis discusses the vision of nationalism as not necessarily an ideology of politics, but rather an ideology of religion and a unified culture. Through the German Romantic notion of the Eternal Feminine and the expanding study of maternal feminism, this thesis discusses the acknowledgement of the encouraging roles of women morally, spiritually, and nationalistically during a significant political time in Germany's history. Additionally, discussion of the theatre as a popular nationalistic institution for education allowed Schinkel's design for Die Zauberflöte to specifically engage and connect female viewers with nationalism. I attempt to show how all of these contextual ideologies were expressed through the allegorical female. Furthermore, in recognition of female viewers through allegory, Schinkel's The Hall of Stars expressed an empowerment of the feminine role within the drive for national unification.

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Rego, Eusiel Silva do. „Fernando Sor e as transcrições Opus 19 para violão de Seis árias escolhidas de A flauta mágica de Mozart: uma abordagem estético-analítica“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-06032013-160229/.

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Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente.
This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.

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Obert, Julie. „Les traductions françaises de Die Entführung aus dem Serail et Die Zauberflöte de W. A. Mozart sur les scènes parisiennes de 1798 à 1954“. Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2023.

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De la fin du 18e siècle jusqu’au milieu du 20e siècle, la plupart des opéras de Mozart ont été joués en français sur les scènes parisiennes. Condition essentielle aux représentations, la traduction a donc joué un rôle décisif dans la diffusion des œuvres lyriques de Mozart en France. Cette thèse étudie les traductions françaises des deux plus célèbres opéras de Mozart en langue allemande, Die Entführung aus dem Serail und Die Zauberflöte, représentées sur les scènes parisiennes entre 1798 et 1954. S’appuyant sur de nombreuses sources encore inédites, cette étude cherche à comprendre comment les traducteurs affrontent les multiples enjeux que représente la traduction des livrets allemands pour le public français. Loin de n’assurer que le transfert d’une langue à l’autre, les traductions remodèlent sans cesse le livret comme la partition des opéras mozartiens, donnant souvent naissance à des œuvres entièrement nouvelles. En croisant l’approche historique et les méthodes de l’analyse textuelle, il s’agit de mettre en lumière les spécificités de chaque traduction, d’éclairer les choix des traducteurs et d’interroger l’évolution des traductions au fil du temps. En permettant au public français de découvrir et d’entendre les opéras de Mozart, les traductions façonnent la réception française de ces œuvres en même temps qu’elles en témoignent. Ce qui est en cause est tout autant la situation particulière du monde lyrique français et ses rapports avec les pays de langue allemande, que la conception de la traduction et de l’œuvre d’art
The two German operas of Mozart, Die Entführung aus dem Serail and Die Zauberflöte were performed primarily in French from the end of the 18th century until the middle of the 20th century. Cultural conventions and market conditions required that the libretti of German operas be translated into French. In consequence, translation was a vital element in the diffusion of Mozart’s operatic corpus in France. This dissertation is the first to focus on all four sequential translations of Die Entführung aus dem Serail and the five of Die Zauberflöte, performed in Paris between 1798 and 1954. Based on a number of unpublished manuscripts and unknown publications, this scholarly study of the process of translation discloses the transformations of the original works into new versions of Mozart’s operas, not only in the libretti but also in the music. What matters most is to understand how these translations were made and how they evolved over time, as well as exploring the way translators approached the particular difficulties presented by the need to translate texts meant to be sung. What we see is not only a set of changes in the nature of translations, but also a shift in the professional and popular understanding of what constitutes a work of art. Translation both transmitted and framed the meanings of Mozart’s operas at the same time as they made them available to the French musical world. In this context we can see how fruitful it is to braid together musicological research and the insights of literary scholarship in German studies
In Frankreich wurden Mozarts Opern vom Ende des 18. Jahrhunderts bis in die zweite Hälfte des 20. Jahrhunderts hinein in erster Linie auf Französisch aufgeführt. Um kulturellen Konventionen Genüge zu tun und Markttauglichkeit zu sichern, mussten deutsche Opernlibretti ins Französische übertragen werden, damit das Publikum die Werke verstehen konnte. Folglich waren Übersetzungen eine unumgängliche Voraussetzung für die Verbreitung von Mozarts Opernschaffen in Frankreich. Die vorliegende Dissertation untersucht zum ersten Mal alle Übersetzungen der beiden bekanntesten deutschsprachigen Opern Mozarts, Die Entführung aus dem Serail und Die Zauberflöte, die zwischen 1798 und 1954 auf Pariser Bühnen zu hören und zu sehen waren. Die Studie zieht eine Reihe unveröffentlichter Handschriften und in Vergessenheit geratener Veröffentlichungen heran und zeigt, dass die Übersetzer nicht nur am Text, sondern auch an der Musik Veränderungen vornahmen, die die neuen Fassungen gleichsam zu eigenständigen Werken machten. Das vorrangige Ziel der Arbeit besteht darin zu verstehen, wie die jeweilige Gestaltung der Übersetzungen zustande kam, und wie sie sich im Lauf der Zeit entwickelten. Dabei wird nicht nur ein Wandel in der Übersetzungsart festgestellt: vielmehr wird auch sichtbar, dass sich bei den Übersetzern wie beim Publikum die Auffassung verändert von dem, was ein Kunstwerk ist, und wie man mit ihm umgehen sollte. Indem sie Mozarts Opern der französischen Musikwelt zugänglich machten, bestimmten die Übertragungen das Verständnis der Werke mit, so dass sie aufschlussreiche Quellen zur französischen Mozart-Rezeption darstellen. Um diesen Verschiebungen und wechselseitigen Wirkungen nachzugehen, werden die Methoden der Übersetzungskritik mit den Grundlagen historischmusikwissenschaftlicher Forschung zusammengeführt

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Meinhold, Günter. „Zauberflöte und Zauberflöten-Rezeption : Studien zu Emanuel Schikaneders Libretto "Die Zauberflöte" und seiner literarischen Rezeption /“. Frankfurt am Main : Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb38843045c.

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Jutzi-Fischer, Caroline. „Mozarts Zauberflöte aus der Perspektive betriebswirtschaftlicher Führungstheorien /“. [S.l.] : [s.n.], 2005. http://aleph.unisg.ch/hsgscan/hm00142332.pdf.

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Thomson, I. „Mozart's opera Die Zauberflote : an analysis of the historical and literary sources of the libretto“. Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503064.

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This dissertation contains an analysis of the libretto of Mozart's Die Zauberflote. The analysis was contemplated with apprehension, given that so much has already been written about the opera. But the work was prompted by two factors. Firstly, by a longstanding concern that the libretto contains classical, literary, historical and philosophical references which have not been referred to in previous explanations of the opera. There was a sense in which the opera may have been well documented but perhaps not well understood. Secondly, and consequentially, the study was fuelled by the magnitude of the challenge to understand how these unacknowledged references fit together to create what the librettists considered to be their "purpose". This dissertation, then, develops many new analytical themes and throws fresh light on the purpose of the opera and the methods by which it was developed. Many people have helped me in a variety of ways during this study. I am particularly grateful to my Supervisor, David Chadd, Head of the School of Music at the University of East Anglia (UEA), Norwich, for his constant support and advice, and to my two examiners Professor Julian Rushton at Leeds University and Anthony Gritten at UEA. I am also grateful to Simon Waters at UEA and Ian Biddle (formerly UEA but now at Newcastle University) for their help during an earlier M.Mus. study which unexpectedly led to the research presented here. I am particularly grateful to Edvina Franceschini for her assistance, comments, encouragement and hospitality throughout the period of this study. And I am indebted to Prebendary Michael Moreton, for reading draft text and offering helpful comments on theological and other references, and to Angela Biston for helpfully commenting on several occasions on my draft text. I also wish to acknowledge the help of a number of people on whom I have relied for specific advice on a miscellany of subjects. Their contributions may have been partial, because none were aware of the objectives of my study, but their help was nevertheless important. I am particularly grateful to Anna Plattner and Bettina Kann, Osterreichische Nationalbibliothek, Vienna; Frieder Hepp, Director, KurpJiilzisches Museum, Heidelberg; Clare Rider, The Honourable Society of the Inner Temple, London; Diana Weber, Stadtarchive, Heidelberg; Daniel Pailthorpe, Principal Flautist, English National Opera, London; Cesare Poppi, Deputy Director, The Sainsbury Centre, UEA, Norwich: Joe Taylor, Head Ranger, Sports and Parks Division, City of Coventry; Ineke Fijan, the Erasmus University, Rotterdam; Anne Mitchell, Woburn Abbey; Catherine Baron, Assistant Curator ofthe Royal Collection; Bernhard Overbeck, Bayerische Staatsbibliothek, Munich; Claire Leach, Voltaire Foundation; Sylvia Morris, Shakespeare Memorial Library, Stratford-uponAvon; Richard Palmer, Lambeth Palace Library, London; Lynda McLoed, Sotherby's, London; Mr. Ellis, Astrological Association, London; The Astrology Shop, London; Clive Wilkins-Jones, Norfolk and Norwich Millenium Library, Norwich; Ingrid Lamey, Schwetzingen Castle; Lucia Underhill, Kimbolton School; Omar Samy, Al Ahram Newspaper, Cairo; Ingrid Horning, Utrecht; Julian Roberts; and Jean Rafferty. Finally, I am grateful for the unfailing assistance of countless anonymous staff in many libraries and museums. Staff at The British Library, where necessarily most of my research was undertaken, have been exceptionally helpful. But I have also received considerable help from staff at the UEA library; the Bodleian; the House of Lords Record Office; the Egypt Exploration Society; the National Portrait Gallery Heinz Archive; German Historical Institute, London; London University Library; the Wellcome Library; the Victoria and Albert Museum; the Warburg Institute Library; Christie's Images; Coventry City Library; Warwickshire Records Office; the Ashmolean Museum; Centraalmuseum, Utrecht; the National Maritime Museum; the Historische Museum, Berne; the Offentliche Kunstammlung, Basle; the London Park Lane Mosque Library and the Vatican State Library.

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Polke, Stefan. „Frimureri og folketeaterelementer i "Die Zauberflöte" : en kritisk analyse af Mozarts og Schikaneders Tryllefløjten og dens placering i civilisationsprocessen omkring W. A. Mozarts og Johann Emanuel Schikaneders levetid /“. Roskilde : Roskilde universitetscenter, 1998. http://hdl.handle.net/1800/288.

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張文卿. „A Research on the Teaching Opera Appreciation of Mozart's Die Zauberflöte“. Thesis, 2007. http://ndltd.ncl.edu.tw/handle/70253789996869428196.

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碩士
國立新竹教育大學
人資處音樂教學碩士班
95
Abstract A Research on the Teaching Opera Appreciation of Mozart's Die Zauberflöte In the research, Mozart's Die Zauberflöte was the teaching material of opera appreciation for the students who were sixth grade in a primary school. The method of Action Research was adopted in the research. The main purposes of the research were to probe into the acceptance degree, the influence of learning music and the effect which students were taught opera appreciation of Mozart's Die Zauberflöte. The relative data of Mozart's Die Zauberflöte were discussed in the research, to understand the deep intention of Mozart's Die Zauberflöte and to look for the theoretical foundation for the teaching of opera appreciation. The course of teaching opera appreciation was designed and actually executed. The data that were the note of the teacher's self-examination, the record of the students’ interview and the teachers’ interview, the students’ learning sheets, and the result of the test before teaching and the test after teaching would be collected, in order to analyzed and discussed. The results of this research are as follows, 1.After the students were taught opera appreciation of Mozart's Die Zauberflöte, the students' acceptance degree has the tendency to improve. ‧Liking degree to the course of the students improved, after the students were taught opera appreciation of Mozart's Die Zauberflöte. ‧The students’ acceptance degree for the course which the students had appreciated Mozart's Die Zauberflöte was over 50%. ‧The will that the students appreciated the opera improved not so highly, but the will had the tendency to improve. ‧The story of Die Zauberflöte was the course that students were most interested in, secondly for the aria and the adapted songs. 2.It had a great effect of studying for the primary school students, to teach the students the opera appreciation of Mozart's Die Zauberflöte. ‧The students had a good result to distinguish the timbre of human and singing types on Die Zauberflöte. ‧In the teaching opera appreciation of Mozart's Die Zauberflöte, there was a positive correlation between the students' cognitive teaching result and the course which students liked. ‧After the students were taught opera appreciation of Mozart's Die Zauberflöte, the students had a concrete concept to the opera. 3.The students had a good influence in learning music, after the students were taught opera appreciation of Mozart's Die Zauberflöte. ‧The attitude that the students liked music was improved. ‧There was helpfulness for the students on learning music. Finally, according to the results of the research, put forward the suggestion on music teachers, the schools and the educational responsible institution of primary school. Keyword: Opera, Die Zauberflöte., The Teaching Opera Appreciation

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CHOU, YU-TING, und 周玉庭. „An Analysis and Interpretation on the characteristics of Papageno in Mozart’s Opera “ Die Zauberflöte ”“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/uj6fsj.

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碩士
國立臺灣藝術大學
音樂學系
104
Wolfgang Amadeus Mozart （1756-1791） was one of the greatest composers in 18th century. He was a child prodigy then grew into a prolific composer. Mozart wrote a tremendous amount of music during his lifetime. Since The Magic Flute premiere, it has always been one of the most beloved works in the operatic repertoire. This thesis will discuss the characteristics of Papageno through the libretto of Emanuel Schikaneder （1751-1812） and focus on the singing interpretation of Papageno, including Papageno’s arias, duets and quintet. The thesis consists of five chapters. The 1st chapter is introduction. The 2nd chapter is the biography of Mozart and the generality of Mozart’s operas. The 3rd chapter introduces the librettist, the composing background and plots of The Magic Flute. The 4th chapter presents the musical analysis and singing interpretation of five songs of Papageno. The 5th chapter is conclusion.

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Bücher zum Thema "Die Zauberflöte"

Meinhold, Günter. Zauberflöte und Zauberflöten-Rezeption: Studien zu Emanuel Schikaneders Libretto Die Zauberflöte und seiner literarischen Rezeption. Frankfurt am Main: P. Lang, 2001.

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Amadeus, Mozart Wolfgang. Die Zauberflöte. 6. Aufl. Mainz: Schott, 1988.

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Mozart: Die Zauberflöte. Kassel: Baerenreiter, 2015.

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Schwind, Moritz von. Moritz von Schwind: Zauberflöte. Wien: Österreichische Galerie Belvedere, 2004.

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Kuckartz, Wilfried. Die Zauberflöte: Märchen und Mysterium. Hamburg: Verlag Dr. Kovač, 1996.

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Branscombe, Peter. W. A. Mozart, Die Zauberflöte. New York, NY: Cambridge University Press, 1993.

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Russell, P. Craig. Wolfgang Amadeus Mozart's Die Zauberflöte. Stuttgart: Feest USA, 1991.

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Desnica, Vladan, und Ljudevit Bauer. Partitur für eine Zauberflöte: Roman. [Graz]: Verl. Ingenium, 2007.

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Die Zauberflöte: Oper und Mysterium. München: Hanser, 2005.

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Nieder, Christoph. Von der »Zauberflöte« zum »Lohengrin«. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8.

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Buchteile zum Thema "Die Zauberflöte"

English, Neil. „Die Zauberflöte“. In Patrick Moore's Practical Astronomy Series, 159–76. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-4424-4_9.

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Willaschek, Wolfgang. „Die Zauberflöte“. In Mozart Theater, 294–357. Stuttgart: J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-03426-7_6.

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Schweikert, Uwe. „Mozarts »Zauberflöte«“. In Erfahrungsraum Oper, 232–41. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04652-9_20.

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Martin, Dieter. „Der Zauberflöte Zweyter Theil“. In Goethe Handbuch, 392–407. Stuttgart: J.B. Metzler, 2008. http://dx.doi.org/10.1007/978-3-476-00032-3_30.

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Nieder, Christoph. „Perspektiven der »Romantischen Oper«“. In Von der »Zauberflöte« zum »Lohengrin«, 149–59. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_7.

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Nieder, Christoph. „Anhang“. In Von der »Zauberflöte« zum »Lohengrin«, 160–80. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_8.

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Nieder, Christoph. „Anmerkungen“. In Von der »Zauberflöte« zum »Lohengrin«, 181–252. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_9.

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Nieder, Christoph. „Voraussetzungen“. In Von der »Zauberflöte« zum »Lohengrin«, 1–10. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_1.

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Nieder, Christoph. „Oper als dramatische Kunstform“. In Von der »Zauberflöte« zum »Lohengrin«, 11–29. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_2.

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Nieder, Christoph. „Der Text in der Oper“. In Von der »Zauberflöte« zum »Lohengrin«, 30–49. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_3.

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