Dissertationen zum Thema „Die Zauberflöte“

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.

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.

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.

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

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.

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

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.

碩士
東吳大學
音樂學系
95
“Die Zauberflöte”, or the Magic Flute, contains a significant characteristic that makes it different from any other masterpieces of Mozart. It does not portray fickle human nature as Le Nozze di Figaro, Don Giovanni and Cosi fan tutte do, nor does it narrate historic events like Idomeneo and La Clemenza di Tito. Not an easy piece to interpret, the Magic Flute is in the form of folk Singspiel whose fairy tale theme unfolds as Freemasonry ideals are introduced. It reaches a higher spiritual realm with rich Masonic implications and elements presented on the opera stage. Some documents have suggested that the character Sarastro be considered the symbol of Ignanz von Born, the spiritual leader of the Freemasonry, and represent the Masonic ideal. This thesis centering on Sarastro attempts to discuss the practice of the philosophy of Freemasonry in the play. It comprises four parts: the outline of background information, the relations between music and language and their symbolic meanings, analysis and interpretation of Sarastro, and conclusion. Recital Programe: 1. F. Gasparini ( 1668- 1727) Lasciar d'amarti 2. G. Pergolesi ( 1710- 1736) Se tu m'ami, se tu sospiri 3. G. Paisiello ( 1740- 1816) Nel cor più non mi sento 4. W.A.Mozart ( 1756- 1791) 2 Arias 1).“ In diesen hei’lgen Hallen” ~ from “ Die Zauberflöte” Act II 2).“ Per questa bella mano” ~ from “ Concert Arias” KV612 5. J. Canteloube ( 1879- 1957) Chants d’Auvergne 1). Brezairola 2). Malurous qu’o uno fenno 6. G. Mahler ( 1860- 1911) Rückert Lieder 1). Ich atmet' einen linden Duft 2). Blicke mir nicht in die Lieder 3). Ich bin der Welt abhanden gekommen 4). Um Mitternacht 7. A. Tcherepnin 齊爾品( 1899-1977) 中國民歌四首 1). 新年 2). 送情郎 3). 小放牛 4). 鋤頭歌 8. G. Gershwin( 1898- 1937) Just another Rumba

碩士
東吳大學
音樂學系
101
Die Zauberfloete is a Singspiel with a mythological theme completed in the last year of Mozart’s life. The characteristics of the roles (e.g. three genies and three ladies), arrangement of the scenes (the pyramid design is consistent with the triangle in the symbol of Freemasonry) and the elaboration of music (triads, third and the three-note motivation) all imply the mystery of “Freemasonry.” All the symbolic numbers in Die Zauberfloete are basically four critical numbers, including “three” which symbolizes the Trinity, “five” which is the number of love, “eight” which is a symbol of the external transmigration and “eighteen” which is a holy number of the sun in the ancient times. According to the review on journals and articles on Die Zauberfloete, the importance of numbers and symbols are frequently mentioned in this opera. The Austrian scholar Johannes Puchleitner (1973-) discussed a lot about “symbolic numbers” in his study on the words and music of Die Zauberfloete. However, his study did not specifically specify the meanings of numbers. Therefore, this study further probed into the numbers proposed by Johannes Puchleinter to investigate their symbolic meanings in Die Zauberfloete one by one. The content of this paper is divided into five parts: Part 1 is the symbolization of Freemasonry in Die Zauberfloete; Part 2 is the investigation on the symbolization of numbers in Die Zauberfloete; Part 3 is the symbolization of number in Die Zauberfloete-words; Part 4 is the symbolization of number in Die Zauberfloete-music; Part 5 is the summary of this study

碩士
國立東華大學
音樂學系
101
This is an interpretation report on two opera compositions by Wolfgang Amadeus Mozart, which are 「Die Entführung aus dem Serail」, and「Die Zauberflöte」. Specifically focus on the 「Dramatic Coloratura Soprano 」 roles (Constanze and Queen of the Night) analizing the interpretations of the roles and songs. This research study will discuss Mozart’s opera compositions, talk about the dramatic coloratura roles, and the characteristics and backgrounds of「Die Entführung aus dem Serail」, and「Die Zauberflöte」also analyzing the interpretation and structures of the five arias (sung by Constanze and Queen of the Night). Lastly, we’ll compare and contrast the similarities and differences in character, musical, and perfomances of 「Constanze」 and 「Queen of the Night」. Opera 「Die Entführung aus dem Serail」, and「Die Zauberflöte」 are considered compostitions from Mozart’s mature period. They are both German operas in the forms of “Singspiel”. Most of the women roles in Mozart’s operas are the voice type of coloratura. Coloraturas sings in the highest range, the characters of this voice types are bright, light and agile, and flexible. Within the coloratura voice type, there are “Soubrette soprano”, “Lyric coloratura soprano”, and “dramatic coloratura soprano”. Constanze and Queen of the Night are both dramatic coloratura soprano , and they both have strong definitions in the settings of their characters, and there are many dramatic moments in their performance pieces. Thus, performers needs to have flexibilty and power to deliver those arias. This paper aims to help performers get into the appropriate expressions when performing.

碩士
國立臺南藝術大學
音樂學系碩士班
102
The topic of the thesis is about Ludwig van Beethoven’s “Sieben Variationen über das Thema ´Bei Männern, welche Liebe fühlen´ aus der Oper ´Die Zauberflöte´ von Mozart” WoO 46. This work was completed in 1801 as a Newyear’s gift for Count von Browne. This thesis will discuss the following aspects of this work: The first chapter details Beethoven’s life, the compositional style of each epoch and the compositional background of the piece. The second chapter introduces Variation form, then compares the theme of Beethoven’s variation and Mozart’s original version, and lastly, presents an analysis of this piece. The final section of Chapter two discusses the comparison between each variation and the theme. Chapter three explains about how to properly perform the piece.

碩士
國立中山大學
劇場藝術學系碩士班
101
Abstract 　　　Creative discourse opera “Die Zauberflöte” (“The Magic Flute”) is my experimental subject, and it represents modern aesthetic style shown in the theater design. This opera contains two acts and 13 scenes, and the stage design target is National Theater. The reason “Die Zauberflöte” has become my subject is because of its vivid story content, distinctive characters, and the stage background of the magical world, which is welcome by all ages. From the aspect of musicology, music style of “Die Zauberflöte” is lively, cheerful, and highly acceptable. Overall, choosing “Die Zauberflöte” giving author more freedom on imagination. 　　The first step was to make sure motivation and purpose, and setting creation target. The second step was to showcase my creative experience. After collecting background information and analyzing content of “Die Zauberflöte”, I decided to use “The Magic Flute” as the basis of this design creation. The last step was to decide the focus of this theater design, and the Repeated Image and serigraphy in 20th century aesthetic style are the creation manifestation used in this work. 　　In this thesis, we intend to reinterpret stage design by using modern aesthetic points of views, and it contains stage deign chart, Creation range includes stage design, stage technical drawings, lighting simulation, apparel design ...etc. We expect the performance and achievement of this work could develop furthermore in the future, and make more modern aesthetic expression fulfilled in theater design.

The thesis for the Master of Music degree in Opera consists of the performance of a major role in one full opera production in the first or second year. My major role in one full opera production was the 2nd Lady performed in Die Zauberfloete on Dec 15th 2005 & Dec 17th 2005
Arts, Faculty of
Music, School of
2 DVD
Graduate

Prince Tamino is fleeing from a dragon and faints in terror. The dragon is then killed by the Three Ladies, attendants of the Queen of the Night. When Tamino awakes, the Three Ladies have disappeared. The sound of panpipes announces the arrival of the bird catcher Papageno. He claims that it was he who killed the dragon. The Three Ladies reappear, padlock Papageno's mouth as punishment for lying, and present Tamino with a portrait of the Queen's daughter, Pamina. Tamino falls instantly in love with her. The Queen herself appears and urges Tamino to rescue her daughter from the wicked Sarastro, who is holding her captive. The reluctant Papageno is ordered to accompany Tamino. The Three Ladies give Tamino a magic flute and Papageno a chime of magic bells to guard them against dangers. The Three Spirits will guide and protect them. In Sarastro's palace, Pamina has failed in an attempt to escape. Monostatos, a servant of Sarastro, has recaptured her. Papageno has found his way into the palace, where he comes face to face with Monostatos. Equally terrified by the sight of one another, they flee. Papageno returns, recognizes Pamina and tells her that Tamino has been sent to rescue her. The Three Spirits lead Tamino into the temple, where he learns from the Speaker that Sarastro is no tyrant, as the Queen had maintained, but a man of wisdom. Voices from the temple reassure Tamino that Pamina is alive. In joyful anticipation, Tamino plays on his magic flute. Wild beasts arrive. Papageno and Pamina hear the flute and set off to find Tamino. Monastatos and his slaves try to recapture the fleeing pair, but Papageno remembers his magic bells and their captors dance harmlessly away. A fanfare announces the arrival of Sarastro. Pamina confesses to him that she was running away from Monostatos, to which Sarastro replies that the only reason he is holding her captive is to keep her from her mother's malign influence. Tamino is brought in as a captive by Monostatos. Pamina and Tamino recognise and embrace each other. Monostatos demands that they be punished, but Sarastro sends them away to be purified before undergoing trials of initiation, and Monostatos is punished in their place. Act Two Sarastro announces to the assembled priests that Tamino wishes admission to their order. The gods have decreed that Pamina and Tamino are destined for each other, but first they must undergo trials. Two priests impose a vow of silence on Tamino and Papageno. The Three Ladies appear and try to lure them back to the Queen. Tamino and Papageno resist and the Ladies are banished by voices from within the temple. In Sarastro's palace, Monostatos finds Pamina sleeping and desires to kiss her. The Queen of the Night arrives. She gives Pamina a knife and orders her to kill Sarastro. Swearing vengence, the Queen disappears. Monostatos has overheard everything and offers to carry out the deed himself if Pamina repays him with her love. When she rejects Monostatos, he tries to kill her. Sarastro intervenes and comforts Pamina. The ordeals continue. Papageno is confronted by an old woman who claims that she is his beloved, much to Papageno's amusement. She disappears and the Three Spirits arrive, returning the magic flute and bells to Tamino and Papageno, as well as bringing them food and drink. Tamino plays on the flute, which is heard by Pamina, who rushes in joyously. Remembering his vow of silence, Tamino refuses to speak to her. Pamina misinterprets Tamino's silence, falls into despair and prepares to take her own life. Sarastro sends Tamino away to procede with his initiation. He and Pamina are commanded to bid each other a last farewell. Grief-stricken, Pamina tries to kill herself. The Three Spirits appear and reassure her that Tamino's love is true. A priest informs Papageno that he has been denied intiation. Papageno, content to drink and be merry, expresses no regret. He receives another visit from the old woman and, under threat of imprisonment, agrees to be faithful to her. At that moment she reveals herself to be Papagena: the woman of his dreams. Unfortunately, she is hurried away by a priest before Papageno can embrace her. Two armed guards stand at the entrance to the trials. Tamino is at last joined by Pamina. She takes his hand, tells him to play the flute, and leads him through the gates. Protected by the magic flute, they pass safely through the trials of fire and water. Papageno, lamenting the loss of Papagena, is about to hang himself. The Three Spirits interrupt him and tell him that he can summon his beloved with his magic bells. Papagena reappears. Monastatos has joined the Queen of the Night and the Three Ladies in a final attempt to undermine Sarastro. Their power, however, is broken and thunder and lightning hurl them into darkness. Tamino and Pamina are welcomed into the Temple of the Sun, and the forces of good celebrate their triumph, while Papageno and Papagena experience the joys of family life.

The thesis for the Master of Music degree in Opera consists of the performance of a major role in one full opera production in the first or second year. I performed role Second Lady in Mozart's "Die Zauberflöte" on the 12th and 14th of December, 2003.

The thesis for the Master of Music degree in Opera Performance consists of the performance of a major role in one full opera production in the first or second year. I performed the role of Third Lady in Mozart's "Zauberflöte" on December 12th and 14th, 2003.

The thesis for the Master of Music degree in Opera Performance consists of the performance of a major role in one full opera production in the first or second year. I performed the role of First Lady in Mozart's "Die Zauberflöte" on December 12th and 14th , 2003.

碩士
國立臺灣師範大學
音樂研究所
92
For application of the theory of multiple intelligences in art and humanities education, one of the teaching methods is to integrate drama teaching into music teaching. Operas are a comprehensive expression of various kinds of arts. They can be used as the best teaching materials to help students experience the beauty of different arts at the same time. This study probed into the effects of the integration of drama teaching with opera appreciation through discussion of literature, analysis of learning surveys as well as analysis and study of the teaching results of “leading students to appreciate operas through drama teaching”. The purposes of this study were: (1) to understand junior high school students’ attitude toward opera appreciation, (2) to discuss factors affecting students desire for opera appreciation, (3) to investigate into the significance and value of drama teaching in art education, (4) to know junior high school students’ acceptance psychology toward drama teaching and the feasibility of implementing drama teaching in music courses, and (5) to discuss students’ aesthetic perception of the operas through drama teaching In this study, six classes of Yang Min Junior High School, Kaohsiung City were used as subjects. They were divided into three groups: A, B, and C. Group A consisted of one class (the 2nd grade students). All students of the class were responsible for presentation of an opera in a manner of play. Group B included three classes (the 1st grade students). The students of each class were further divided into small groups. Each group was responsible for a small part of an opera and presented the opera in the form of play. Group C consisted of one class of each the 1st grade and the 2nd grade. For group C, teachers made a brief introduction of operas in class. From analysis of the learning surveys and observation in class, the researcher founded that: 1. The effects of “drama teaching” received favorable comments from students. 2. In the aspect of design in drama teaching, the contents of drama teaching for Group B could be regarded as a better design. 3. The drama teaching was able to increase students’ interest in appreciation of operas. 4. The drama teaching could enhance students’ aesthetic ability through appreciation of operas. 5. The drama teaching helped the junior high school students’ to have a further understanding of the stories and characters of the dramas they saw. According to the results of this study, the researcher put forward the following suggestions: 1. To help students develop their active thinking and creative spirit. 2. To pay attention to the creation of a learning atmosphere emphasizing mutual help and cooperation. 3. To assign each group moderate tasks upon implementation of drama teaching. 4. To enhance the maintenance of classroom order. 5. To provide music teachers with opportunities of advanced study and training in the field of performance arts. 6. To increase equipment and resources of the music classroom. 7. To hold large performance activities. From the results of the study on how to lead students to appreciate operas through drama teaching, the researcher worked out a feasible plan for reference in implementing drama teaching and submitted the said suggestions for future studies.