Relevant bibliographies by topics / Arthur Sullivan

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Arthur Sullivan'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Arthur Sullivan"

1

Sherr, Richard. "Arthur Sullivan: A Victorian Musician . Arthur Jacobs ." Journal of the American Musicological Society 38, no. 3 (1985): 637–43. http://dx.doi.org/10.1525/jams.1985.38.3.03a00090.

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Levy, David B. ": Arthur Sullivan: A Victorian Musician . Arthur Jacobs." 19th-Century Music 10, no. 2 (1986): 194–95. http://dx.doi.org/10.1525/ncm.1986.10.2.02a00070.

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Fonseca, Carlos Alberto. "Téspis ou Os Deuses Envelhecem." Dramaturgias, no. 4 (October 27, 2017): 113–57. http://dx.doi.org/10.26512/dramaturgias.v0i4.8525.

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Thomas, Gavin, and Arthur Jacobs. "Arthur Sullivan: A Victorian Musician." Musical Times 133, no. 1797 (1992): 573. http://dx.doi.org/10.2307/1002584.

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Sherr, Richard. "Review: Arthur Sullivan: A Victorian Musician by Arthur Jacobs." Journal of the American Musicological Society 38, no. 3 (1985): 637–43. http://dx.doi.org/10.2307/831483.

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Fischler, A. "Haddon Hall. Sydney Grundy and Arthur Sullivan." Opera Quarterly 17, no. 4 (2001): 770–75. http://dx.doi.org/10.1093/oq/17.4.770.

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Beckerman, Michael. "Arthur Sullivan, Haddon Hall, and the Iconic Mode." Comparative Drama 22, no. 1 (1988): 1–20. http://dx.doi.org/10.1353/cdr.1988.0021.

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Stollberg, Arne. "„A work so truly English in its story and its music“. Arthur Sullivans Ivanhoe und die Suche nach einer englischen Nationaloper." Studia Musicologica 52, no. 1-4 (2011): 457–84. http://dx.doi.org/10.1556/smus.52.2011.1-4.32.

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In order to overcome the persistent cliché of a “land without music,” considerable efforts were made in Great Britain at the end of the 19th century to establish what is now labelled the English Musical Renaissance. One of the movement’s main concerns was to establish both institutionally and artistically a National Opera for the production of English works. In this context, the opening of a newly built opera house, the Royal English Opera, by the impresario Richard D’Oyly Carte in 1891 created a great stir. The Royal English Opera was inaugurated with Arthur Sullivan’s “Romantic Opera” Ivanhoe. Sullivan tried to give his score an especially English flavour without using folksongs or other overtly national musical characteristics. His composition can be seen as a synthesis of German, French and Italian influences, which intentionally mirrors the fusion of the Anglo-Saxon and Norman elements to form the English nation under King Richard the Lionheart as presented in the opera’s plot. Unfortunately the story of D’Oyly Carte’s enterprise was a short one and Sullivan’s opera quickly passed into oblivion.
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Kuykendall, James Brooks. "The Yeomen of the Guard. Full Score. by W. S. Gilbert and Arthur Sullivan, and: The Yeomen of the Guard. Vocal Score. by W. S. Gilbert and Arthur Sullivan, and: Iolanthe. Full Score. by W. S. Gilbert and Arthur Sullivan." Notes 75, no. 2 (2018): 334–42. http://dx.doi.org/10.1353/not.2018.0120.

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Kirwan, Paul. "Sir Arthur Sullivan:97124Philip H. Dillard. Sir Arthur Sullivan: A Resource Book. Lanham, Maryland and Shelwing Folkestone: Scarecrow Press 1996. xiii + 428 pp, ISBN: 0‐8108‐3157‐0 $49.50/£47.05." Reference Reviews 11, no. 2 (1997): 37–38. http://dx.doi.org/10.1108/rr.1997.11.2.37.124.

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Dissertations / Theses on the topic "Arthur Sullivan"

1

Stanyon, Anne. "Sir Arthur Sullivan, the 1898 Leeds Festival and beyond." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/20229/.

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Over the course of the past thirty years, Sir Arthur Sullivan's reputation as the foremost British musician of the Victorian era has undergone a renaissance, particularly with regard to his work beyond his partnership with W.S. Gilbert. While many aspects of Sullivan's career have seen a re-evaluation, there are areas that have not, and which this thesis seeks to address: Sullivan's career as a conductor and his direction of the Leeds Triennial Musical Festival have been largely ignored, possibly because they do not fit into the expected framework of the life of a musician who is best known as a composer of comic operas. It is against this background that Sullivan's direction of the 1898 Leeds Festival is examined, together with its aftermath and his controversial dismissal in the late summer of 1899.Giventhe success that Sullivan had brought to Leeds, his popularity with audiences and performers alike, together with his proven abilities the Festival's General Conductor, his removal did not make sense. The circumstances surrounding this unanticipated event, the mythology that was constructed around it, and the deliberate denigration of Sullivan's reputation form the core of the enquiry. Finally, the turbulent decade that succeeded Sullivan's removal is investigated, following the fortunes of the Leeds Festival and the men who were central to it, before the Great War temporarily terminated its activities.
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Strachan, Martyn Paul Lambert. "Style in the music of Arthur Sullivan : an investigation." Thesis, Open University, 2018. http://oro.open.ac.uk/57662/.

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This thesis examines Sullivan's output of music in all genres and assesses the place of musical style within them. Of interest is the case of the comic operas where the composer uses parody and allusion to create a persuasive counterpart to the libretto. The thesis attempts to place Sullivan in the context of his time, the conditions under which he worked and to give due weight to the fact that economic necessity often required him to meet the demands of the market. The influence of his early training is examined as well as the impact of the early Romantic German school of composers such as Mendelssohn, Schubert and Schumann. In the second half of the thesis, selected features of Sullivan's style are analysed in detail as is the influence of prominent European composers such as Berlioz and Liszt. The final section is a close examination of Sullivan's most successful choral work, The Golden Legend. One of the principal aims is to address the dearth of scholarship on the technical aspects of this composer's music. Where a great deal of information is available about his biography, not least from the diary he kept from 1876 until his death, the sharply defined contrasts in Sullivan's use of musical style seem to have deterred commentators from enquiring too closely into his compositional techniques and this has led to certain false assumptions and misunderstandings. A close examination of these techniques may encourage a greater recognition of Sullivan's considerable achievements and foster a more open-minded attitude to his music and that of other nineteenth-century British composers.
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Baird, Linda. "Role of The Grand Duchess in the Gondoliers : Composer: Arthur Sullivan." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/32072.

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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 Grand Duchess performed in The Gondoliers on December 15t h and 17th.<br>Arts, Faculty of<br>Music, School of<br>Graduate
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Hulme, David Russell. "The operettas of Sir Arthur Sullivan : a study of available autograph full scores." Thesis, Aberystwyth University, 1986. http://hdl.handle.net/2160/60676c74-1687-41a1-8111-15c138574c1a.

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Although a good deal has been written about Sullivan and his operettas - and in particular those in which he collaborated with the librettist W.S. Gilbert - very little scholarly attention has been turned towards the musical texts. The situation has been made difficult not only by the wide dispersal of the autograph full scores, but also by the fact that some are no longer extant, whilst a number are not openly available for research. Having largely overcome the problem of accessibility, the dissertation examines the autograph full scores of all Sullivan's operettas except "The Rose of Persia", "Thespis" and "Utopia Limited" (the latter two of which are apparently no longer extant). In addition, numerous other important sources are considered, in particular authoritative nineteenth century vocal scores and full scores, authoritative literary texts, and currently available band parts and vocal scores. As a result a considerable amount of information is brought to light concerning the composer's working methods, his creative role in the structure of the operettas and the textual evolution of the works. The posthumous influence which the D'Oyly Carte Opera Company has had on currently performed texts is also considered. The dissertation contains a large number of music examples, giving transcriptions of material which has never been published. Much of the significant "lost" music to be found in the autograph scores is included as well as a good deal from other sources. Most operettas yield material which has remained unpublished; in the case of "Ruddigore" and "The Yeomen of the Guard" the quantity is substantial. The dissertation reveals that the standard musical texts used in Britain for many of the operettas differ, sometimes considerably, from what Sullivan is known to have written. It also disturbs established notions concerning the literary texts, and especially the form these took at the first performances.
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Aymé, Claude. "L'oeuvre de gilbert et sullivan : image et reflet de la societe victorienne." Paris 3, 1987. http://www.theses.fr/1987PA030086.

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La premiere partie replace les oeuvres et leurs auteurs dans leur contexte historique, artistique et sociologique. Un chapitre retrace succintement l'histoire de l'art lyrique en grande-bretagne des origines jusqu'a l'epoque victorienne, un autre decrit brievement l'etat de la scene anglaise au debut du xixe siecle et l'evolution personnelle de gilbert avant sa rencontre avec sullivan. Suivent une biographie et un portrait sommaires du librettiste et du compositeur. Le dernier chapitre traite de la cooperation entre gilbert, sullivan et richard d'oyly carte. La deuxieme partie est consacree a l'etude systematique de chacune des quatorze operettes. Chaque chapitre contient une presentation des sources et de la genese du livret, une analyse de l'intrigue et des personnages, une comparaison detaillee entre la fiction telle qu'elle apparait dans les livrets et la realite de l'epoque, une appreciation de la musique de sullivan fondee essentiellement sur les ouvrages des critiques contemporains ou posterieurs, et, enfin, une revue de presse rendant compte de l'accueil que recurent les operettes en leur temps. La troisieme partie a pour objet de montrer que les operettes de gilbert et sullivan donnent une double image de la societe victorienne : une image fidele mais aussi une image infidele parce que partielle, partiale ou hautement fantaisiste. . .<br>The first part gives the historical, sociological, and artistic background of the works and their authors. The history of opera in england is succintly related in one chapter ; the situation of english drama at the beginning of the xixth century in another one, as well as the personal evolution of gilbert before his meeting with sullivan. This is followed by short biographies and portraits of both librettist and composer. The last chapter deals with the history of the savoy operas and of gilbert, sullivan and d'oyly carte's common venture. The second part is composed of systematic studies of the fourteen operas. Each chapter contains an account of the sources and the genesis of the work, a thorough analysis of the plot and the characters, a detailed comparison of fiction as it appears in the librettos and the reality of the victorian period, and appraisal of sullivan's music, based mainly on contemporary and modern critical works, and a review of contemporary papers and magazines showing how the opera was received by the public when it was created. The third part shows that two images of victorian society are given by the savoy operas : a faithful one and a deceiving one. . .
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Winstead, Julia. "FOOD FOR JOYOUS LAUGHTER: CONTEMPORARY PRODUCTIONS OF GILBERT & SULLIVAN'S THE PIRATES OF PENZANCE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3125.

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The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D'Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done. Though the D'Oyly Carte Opera Company helped stimulate interest in the works of Gilbert and Sullivan, nontraditional productions of G & S operettas produced outside of the company were able to reach larger audiences. When The Pirates of Penzance was produced on Broadway in the 1980's, it was enormously successful. Under the direction of Wilford Leach, the production was more accessible to audiences through its pop-oriented orchestrations, Broadway-style choreography, and cast of rock stars and well-known actors. This significant change in the way The Pirates of Penzance was performed inspired several other major productions of the operetta in that style and has now become the standard interpretation of the piece. It is due to these productions that The Pirates of Penzance continues to be produced and remain culturally relevant. It is interesting to note that, while the performance style of Pirates has changed significantly over the years, the role of Mabel has remained largely unchanged. In that regard, the role of Mabel continues to fulfill the goals and tradition of D'Oyly Carte while The Pirates of Penzance has evolved from an old-fashioned operetta to a popular musical theatre piece.<br>M.F.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre MFA
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Steadman, Amanda. "Images of Japonisme the portrayal of Japan in select musical works /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1249250727.

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Lam, Eric. ""HMS Pinafore" and the Queen's Navee, images of the Royal Navy in Victorian music and music theatre (Sir W. S. Gilbert, Sir Arthur Sullivan)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61449.pdf.

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Hicks, William L. "Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/hicks%5Fwilliam/index.htm.

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Turner, Matthew R. "Signs of Comedy: A Semiotic Approach to Comedy in the Arts." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1126899710.

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Books on the topic "Arthur Sullivan"

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Arthur, Jacobs. Arthur Sullivan: A Victorian musician. 2nd ed. Amadeus Press, 1992.

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Arthur Sullivan: A Victorian musician. 2nd ed. Scolar, 1992.

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Jacobs, Arthur. Arthur Sullivan, a Victorian musician. Oxford University Press, 1986.

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Sir Arthur Sullivan: A resource book. Scarecrow Press, 1996.

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Arthur Sullivan: Ein Komponistenleben im viktorianischen England. F. Noetzel, 1993.

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Hesketh, Pearson. Gilbert & Sullivan: A biography. Penguin Books in association with H. Hamilton, 1985.

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Arthur O'Leary & Arthur Sullivan: Musical journeys from Kerry to the heart of Victorian England. Doghouse, 2008.

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The life and times of William Gilbert and Arthur Sullivan. Mitchell Lane Publishers, 2004.

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Andrew, Codd, ed. Gilbert & Sullivan. Omnibus Press, 1989.

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Arthur, Sullivan. The complete annotated Gilbert and Sullivan. Oxford University Press, 1996.

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Book chapters on the topic "Arthur Sullivan"

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Blackburn, Vernon. "Arthur Sullivan." In Gilbert and Sullivan. Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-13769-5_34.

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Taylor, Benedict. "Introduction." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-1.

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Taylor, Benedict. "Incidental Music." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-2.

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Taylor, Benedict. "Orchestral Music." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-3.

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Taylor, Benedict. "Song." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-4.

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Taylor, Benedict. "Chamber Music." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-5.

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Taylor, Benedict. "Comic Opera." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-6.

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Taylor, Benedict. "Cantata." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-7.

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Taylor, Benedict. "Grand Opera." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-8.

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Taylor, Benedict. "Choral and Liturgical Music." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-9.

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