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Klitzing, Andrea. "W. A. Mozart: Don Giovanni. Arrangements - gedruckt im deutschsprachigen Raum bis 1850." Andrea Klitzing, 2020. https://slub.qucosa.de/id/qucosa%3A38046.
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Die große, weltweite und berechtigte Aufmerksamkeit, die Wolfgang Amadeus Mozarts Don Giovanni innerhalb der Musikhistoriographie zuteil wurde, täuschte lange Zeit darüber hinweg, dass sich die frühste Form seiner Verbreitung und Appropriation im Kleinen vollzog: Im Arrangement. Bis 1850 wurden Arrangements des Don Giovanni im deutschsprachigen Raum in stetig wachsender Auflagezahl und für verschiedenste Kammermusikbesetzungen ohne Worte ediert. Andrea Klitzing recherchierte mehr als 300 Don Giovanni-Arrangements und fasste sie in einer Tabelle zusammen, welche über zahlreiche Links den Zugang zu digitalisierten Notenausgaben und historischen Rezensionen ermöglicht. Das ergänzende Buch „Don Giovanni unter Druck“ widmet sich der systematischen Erfassung, Auswertung und Kontextualisierung dieser Druckausgaben und erscheint voraussichtlich Mai 2020 bei V&R Unipress.<br>The global and justified attention that Wolfgang Amadeus Mozart's Don Giovanni received in music historiography has long concealed the fact, that the earliest form of its dissemination and appropriation took place on a small scale: the Arrangement. Up until 1850, arrangements of Don Giovanni were edited in the German-speaking countries in ever-increasing numbers and for various chamber music ensembles without words. Andrea Klitzing researched more than 300 Don Giovanni-arrangements and summarized them in a table with numerous links to digitized music prints and historical reviews. The book 'Don Giovanni unter Druck' (“Don Giovanni in press”) is devoted to the systematic recording, evaluation, and contextualization of those print editions.
Estimated release, V&R Unipress, May 2020.
2
Tomaszewski, Mieczyslaw. "Mozarts Don Juan in Polen." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-218474.
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Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.
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Tomaszewski, Mieczyslaw. "Mozarts Don Juan in Polen." Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 21-32, 1997. https://ul.qucosa.de/id/qucosa%3A15296.
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Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.
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Schneider, Magnus Tessing. "The charmer and the monument : Mozart's Don Giovanni in the light of its original production /." [Aarhus] : Dept. of Aesthetic Studies, University of Aarhus, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018761392&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Marty, Laurent. "1805, la création de Don Giovanni à Paris." Paris 12, 2003. http://www.theses.fr/2003PA120007.
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La première représentation à l’Opéra de Paris du Don Giovanni de Mozart fut l’un des événements marquants de la saison 1805, car c’était la première fois qu’une oeuvre véritablement intégrale du compositeur était jouée en France. Après l’étude du contexte musical et esthétique de l’époque, cette thèse retrace l’historique de cette création, avec de nombreux documents et extraits de correspondance montrant les nombreuses réticences de l’administration et la peur des chanteurs. L’étude détaillée du livret et de la partition de la version française, en comparaison avec l’oeuvre de Mozart et Da Ponte, révèle les très nombreuses différences entre original et adaptation et permet de mieux comprendre l’esthétique musicale française du temps. Enfin, l’étude de la réception de l’oeuvre au travers de la presse française et étrangère met en évidence les réticences du public français au style de Mozart et plus généralement à la musique allemande, vus comme une atteinte au “bon goût” classique<br>First performance of Mozart’s Don Giovanni at the the Opera de Paris was one of the outstanding events of 1 805 season, because it was the flrst time that a truly coniplete work by this composer was played in France. After studying musical and aesthetic context of the tirne. This thesis recalls the history of this creation, with many documents and extracts of correspondence showing administration’s reserves and singers’ fear. The detailed study of French version booklet and score, in comparison with work by Mozart and Da Ponte. Reveals the very many differences between original and adaptation and makes it possible to understand better French musical aesthetics oftime. Lastly, study ofreception ofwork through French and foreign press highlights reluctance of French audience to Mozart’s style, and more generally to German music, seen to be an attack on classical “good taste’
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Höllerer, Elisabeth. "Handlungsräume des Weiblichen : die musikalische Gestaltung der Frauen in Mozarts Le nozze di Figaro und Don Giovanni." Frankfurt am Main : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb37714474c.
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Lieberzeit, Michal. "Don Giovanni - historie díla,jeho vznik a interpretace opery ve 20.století." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177883.
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The master thesis "Don Giovanni - history, its origin and interpretation in the 20th century" is dealing with an entire development of the opera and it reflects staging approaches of the 20th century. The thesis offers a brief analysis of the opera and the literary work it is based on. Furthermore it summarizes information about the origin of the work and its creators. Finally in the supplement there are cast lists of the productions of National Theatre Prague, photographs and pictures of the production in various opera houses worldwide.
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Weber, Franziska. "Dimensionen des Denkens : der raumzeitliche Kollaps des Gegenwärtigen : geistes- und naturwissenschaftliche Entwürfe - verifiziert an Martin Kusejs "Don Giovanni"." Bielefeld transcript, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3108873&prov=M&dokv̲ar=1&doke̲xt=htm.
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Klitzing, Andrea [Verfasser]. "Don Giovanni unter Druck : Die Verbreitung der Mozart-Oper als instrumentale Kammermusik im deutschsprachigen Raum bis 1850 / Andrea Klitzing." Göttingen : V&R Unipress, 2020. http://www.v-r.de/.
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Perchet-Féron, Séverine. "Don Giovanni de Mozart et Da Ponte à travers les premières adaptations parisiennes (1805-1834) : contribution à l'histoire du goût musical." Paris 4, 2002. http://www.theses.fr/2001PA040186.
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De sa découverte en 1805 à sa consécration définitive au sein du répertoire de l'Académie de Musique en 1834, le Don Giovanni de Mozart-Da Ponte fut régulièrement joué à Paris, y compris en version originale au Théâtre des Italiens dès 1811. Durant ces trente années, l'ouvrage connut de nombreuses adaptations en langue française qui le transformèrent successivement en une tragédie lyrique, en un opéra-comique et en un grand opéra romantique. L'analyse de ces remaniements (nécessités par la francisation d'un opéra étranger sur les scènes de l'Odéon et de l'Académie), ainsi que l'étude des multiples réactions provoquées par leur réception, permettront d'appréhender le goût lyrique français tout en mesurant les diverses strates de son évolution tout au long d'une époque particulièrement mouvante recouvrant l'Empire, la Restauration et la Monarchie de Juillet. L'imaginaire de ce début de siècle, dévoilé à travers l'étude technique des moyens mis en oeuvre en ces parodies (choix musicaux et formels, parti-pris littéraires et scénographiques, problématiques vocales, enjeux culturels, dimensions politiques et religieuses) nous servira alors à cerner la vision romantique du mythe de Don juan et à comprendre l'éclosion d'une esthétique du Don Giovanni qui perdurera plus d'un siècle durant. La bibliographie traitant des premières adaptations du Don Giovanni en langue française, s'avère aussi peu abondante que les études en sont rares. Aussi, cet essai sur la perception de l'"opéra des opéras" (comme le qualifiait Hoffmann), comblera-t-il un vide et contribuera-t-il, nous l'espérons, à enrichir tout autant la connaissance de cet ouvrage polysémique singulier que celle du goût français en ce début de XIXème siècle<br>From its discovery in 1805 to its definitive consecration within the repertory of the Academy of Music in 1834, Mozart-Da Ponte's Don Giovanni has been regularly in Paris, including in its original version in the 1811 Italian's Theatre. Over this 30 year period, the work was adapted in the French language many times, adaptations that transformed it successively into a lyric tragedy, a comic opera and a great romantic opera. In order to understand the French lyrical style, while taking into account the different stages in its evolution throughout a particularly dynamic era which spanned The Empire, The Restoration and The July Monarchy, one must analyse these rearrangements (made necessary by the need to 'Frenchify' a foreign opera being produced in the Odeon's and Academy's stages) as well as the multiple reactions to their performances. The collective imagination of the turn of the century, unveiled by the technical study of the methods employed in these parodies (musical and forma choices, literary and theatrical bias, vocal questions, cultural games, political and religious dimensions) will lead us to the romantic vision of the myth of Don Juan and to an understanding of the de-compartmentalisation of the aesthetic of Don Giovanni, an aesthetic that would be lost for more than a century. The background reading list on the first French adaptations of Don Giovanni is as sparse as studies are scarce. Therefore this essay about the perception of <> (as Hoffmann termed it) will fill a gap and contribute - we hope - to enriching the recognition of this singularly ground-breaking work as a reflection of French style as the beginning of the 19th century
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Miller, Sarah. "Reflections of the Don: Zerlina's Empowerment Narrative and the Inclusion of "Per queste tue manine" in Don Giovanni." Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/506.
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After the premiere of Don Giovanni in Prague, Wolfgang Amadeus Mozart and Lorenzo Da Ponte brought their opera to Vienna on May 7, 1788. One point of interest in the Viennese version of the score is the added duet “Per queste tue manine.” In this duet, the enraged Zerlina overpowers the bewildered servant Leporello with a handkerchief, a razor, and passion. She constrains the floundering fool and punishes him for his misconduct. In most modern performances, companies look no further than the Prague version of the score. Additionally, singers often portray Zerlina as either a mischievous temptress or a virginal peasant girl. Since modern opera companies often dismiss the Viennese score of Don Giovanni as insignificant and scholars often deem the role of Zerlina as simplistic, a holistic analysis of the role of Zerlina is needed. Viewing the interpretations of her character by Kristi Brown-Montesano and Wye Jamison Allanbrook through the lens of eighteenth-century gender politics and my own musical and literary interpretations results in a more complete understanding of the peasant girl. Through an analysis of the Viennese version of Zerlina’s character, I contend that Zerlina functions as a mirror-image foil to Don Giovanni. As Zerlina gains autonomy through the control of her own body, the Don loses his power over others and eventually his own life. This multi-dimensional understanding of Zerlina’s character is only possible if “Per queste tue manine” is taken into consideration.
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Ohlson, Nordh Hanna. "På slak lina : dirigentens balansgång mellan tradition och historiskt informerad uppförandepraxis." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2473.
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Villanueva, Benito Isabel. "La mediatización audiovisual de la ópera como proceso de apertura a nuevos públicos: El caso de la Obra Don Giovanni de W. A. Mozart." Doctoral thesis, Universitat Internacional de Catalunya, 2014. http://hdl.handle.net/10803/133285.
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En el siglo XX nacieron y se consolidaron las relaciones entre la ópera y los medios audiovisuales. En los estudios estéticos orientados al análisis de estas relaciones y sus efectos sociológicos, se reconoce la naturaleza audiovisual de la ópera, tradicionalmente entendida como un arte basado en la temporalidad narrativa cuyas notas esenciales bien pueden aplicarse al discurso audiovisual. Aplicando la perspectiva que ofrece el concepto de mediatización, que posibilita un estudio del tema desde la disciplina de las Ciencias de la Comunicación, se advierte que gracias a esa naturaleza audiovisual, durante más de 100 años la ópera ha sufrido un proceso lógico de audiovisualización para relacionarse con la sociedad, fuera de los escenarios. Aunque este fenómeno le ha posibilitado una difusión masiva, la relación con los medios ha parecido basarse en la función difusora que estos han ejercido sobre el arte, ya que los productos audiovisuales resultantes no han contemplado ni las lecturas, ni los lenguajes más propios de las lógicas mediáticas que hoy rigen las realidades sociales. Con la llegada de la era digital en siglo XXI, preocupadas por el cambio generacional que viven hoy los públicos asistentes al espectáculo presencial, las instituciones operísticas replantean sus relaciones con los medios, reconociendo ahora no solo el valor que tienen como herramientas de comunicación, sino su potencial valor educativo, tan necesario para que su arte pueda ser entendido por los nuevos públicos de una forma más real, actualizada y enriquecida. Para favorecer el diálogo con estas audiencias, la ópera lanza estrategias de comunicación a gran escala a través de los medios digitales. En este proceso, el nuevo reto que la ópera afronta es conseguir armonizar los usos que los públicos dan a los contenidos y a los medios, con los productos que puede ofrecerles para atraerles, educarles y fidelizarles. En el nuevo contexto teórico que ofrece la mirada de la mediatización, a través de un exhaustivo estudio teórico y un análisis empírico de una muestra de la oferta audiovisual del arte, este trabajo persigue ayudar a la ópera a adaptar sus procesos de comunicación audiovisual al nuevo contexto social, para que pueda lograr dialogar con las audiencias de una forma más eficaz y, con ello, ampliar sus públicos.<br>In the twentieth century, the relationships between opera and visual media was born and
consolidated. In the esthetic studies- the focus on the analysis of these relationships and its
sociological effects- the visual nature of opera is recognized. Traditionally, the opera has been
understood as an art, based on narrative temporality, whose essential notes may well apply to the
audiovisual speech. Applying the concept of mediation, which allows studying the subject from the
discipline of Communication Sciences, it’s warned, that thanks to the audiovisual nature, that for
more than 100 years, the opera has experienced a logical process of audiovisual mediation in order
to relate to society, out of the stages. Although this phenomenon has enabled a massive
dissemination, the relationship with the media seems to be based on the diffusion function that the
media have had on art- since audiovisual products have not considered readings, neither the most
logical languages that nowadays govern social realities. With the advent of the digital age in the XXI
century, opera organizations concerned about the generational change that the face-to-face orients’
spectacle experience today, have rethought their relations with the media; now recognizing, not
only their value as tools of communication but its potential educational value, so necessary to this
art, can be understood by new audiences, in a more real way, updated and enriched. To encourage
dialogue with these audiences, the opera throws, on a large scale, communication strategies through
digital media. In this process, the opera faces a new challenge: to harmonize the uses that the
audiences give to the media content with the products they can offer to attract them, to educate
them, and to build their loyalty. In the new theoretical framework that offers the sight of the media
coverage, through a theoretical study and an empirical analysis of the art audiovisual technology,
this paper aims to help the opera to adapt their processes to the new audiovisual media social
context in order to achieve a more efficient dialogue with audiences, and thus renew their public.
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Walton, Mathew. "Issues of Narrativity in the Romantic Piano Opera Paraphrase." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20502.
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Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.
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Smith, Katherine P. "Extended Program Notes for Thesis Voice Recital." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/628.
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This thesis presents extended program notes for a sixty–minute vocal graduate recital consisting of the following repertoire for soprano: the arias “Soffri, o cor” and “Dimmi qual prova mai” from Alessandro Scarlatti’s cantata Dal Bel Volto d’Irene; a role study of Zerlina from Wolfgang Amadeus Mozart’s opera Don Giovanni, including her arias “Batti, batti, o bel Masetto” and “Vedrai, carino;” Francis Poulenc’s song cycle Cocardes; selections from Arnold Schoenberg’s song cycle Das Buch der Hängenden Gärten; “Der Hirt auf dem Felsen” by Franz Schubert, a chamber work written for soprano, piano, and clarinet; and selections from American composer Ricky Ian Gordon’s song cycle Orpheus and Euridice, composed as a companion piece to the Schubert “Der Hirt auf dem Felsen.” These works span three centuries and cover four languages and multiple genres and musical styles. The content of this thesis contains detailed information on these works through historical study, musical analysis, and research in performance practice.
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Phillips, Edward. "Mozartean gesture and rhetoric in Hummel's Concerto for trumpet." Thesis, Recital, recorded June 13, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6062.
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Thesis (D.M.A.)--University of North Texas, 2008.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 13, 2006, Feb. 12, 2007, Nov. 8, 2007, and Mar. 5, 2008. Includes bibliographical references (p. 38-40).
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Tsai, Meng-Jung. "Così fan tutte? A Study of Character Development through Key Characteristics in the Prima Donna and Soubrette Roles from Four of W.A. Mozart's Late Italian Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707355/.
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This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas.
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Alcalde, Pedro. "Strukturierung und Sinn : die dramatische Funktion der musikalischen Form in Da Pontes und Mozarts Don Giovanni /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb35517669f.
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Fateeva, Anna A. "Three Arias From Mozart’s Don Giovanni: a Comparative Analysis of Performance Issues and Technical Problems Found in Four Complete Piano-Vocal Scores. A Vocal Accompanist’s Perspective." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/552.
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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.
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Woodmansee, J. Andrew. "A study in seduction an analysis of what the concept of encompasses and a discussion of it in the context of enlightenment thought as seen in Mozart's opera "Don Giovanni" /." Connect to resource, 2006. http://hdl.handle.net/1811/24206.
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Thesis (Honors)--Ohio State University, 2006.<br>Title from first page of PDF file. Document formatted into pages: contains 39 p. Includes bibliographical references (p. 37-39). Available online via Ohio State University's Knowledge Bank.
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Chin-Lan, Huang, and 黃錦蘭. "Mozart'' opera "Don Giovanni"." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/61026352302617307012.
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Tsai, Yueh-Hsueh, and 蔡月雪. "The Interpretation and Research of (the role) Elvira in Don Giovanni by Mozart." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/eg4zcp.
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碩士<br>國立臺北藝術大學<br>音樂系碩士在職專班音樂專業師資教育組<br>101<br>Abstract
Wolfgang Amadeus Mozart (1756-1791) was born in the 18th century. It was an age in which European enlightenment literature awoke. It was the germination stage when people were keen to explore and study natural principles.
18th century is the Age of Enlightenment, a French cultural movement started with literature that brought a political and religious revolution in the entire Europe. As the people were emotionally and spiritually depressed over a long period of time, they had, under the advocacy and leadership of litterateurs, stood up to fight with the environment. This movement then evolved into the German Storm and Drive in the middle stage and raised people’s dissatisfaction that continued to the later stage, the French Revolution. It was a revolution that economic, political and religious issues of the entire Europe all got exploded during this period. This paper aims to study the background of this period and to discuss how Mozart learned things in this harsh and disquieted world of reforms; and how he wrote melodious operas and beautiful notes in this turbulent period and had them reserved till today.
Among 28 operas created by Mozart, the author has chosen the opera buffa “Don Giovanni” to analyze the origin of opera buffa in European countries by comparing and investigating relevant operas and books, analyzing the character personality, and summarizing the story of this play. The author has chosen Donna Elvira, an aristocratic woman invented under the influence of the big environment and in the period that Mozart was creating opera buffa, as the study target and divided the composition into four sections: 1. An analysis of Elvira’s character personality; 2. Analysis and interpretation of “Ah, Who Will Ever Tell Me” (“Ah chi mi dice mai”); 3. Analysis and interpretation of “Ah, Escape From This Traitor” (“Ah, fuggi il traditor!”); 4. Analysis and interpretation of “That Ungrateful Wretch Betrayed Me” (“Mi Tradì, Quell''alma Ingrata”). In the fifth section, the author has specially compared Donna Elvira with Dorabella in the opera “Thus Do They All, or The School for Lovers” (“Così fan tutte, ossia La scuola degli amanti”) and summarized relevant analyses and discussions in this paper.
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CHANG, HSIANG, and 張翔. "Interpretation of two baritone solo songs from the opera ” Don Giovanni” by Mozart." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9zyv56.
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碩士<br>國立臺東大學<br>音樂學系碩士班<br>106<br>This paper is about “Don Giovanni”, an opera in two acts with music by Wolfgang Amadeus Mozart. It is based on the famous legends of Don Juan, a fictional libertine and seducer. The libretto of this opera was billed as a Drama giocoso. Mozart entered this work into his catalogue as an Opera buffa, but the traits that it presented was far more than the field of Opera buffa. In other words, it not only present the clear characteristic of Opera buffa but also reflect the dull lust and thrilling tragedy scene.
Researcher found that opera is a comprehensive art. To singers, it had a highly claim. First of all, singers should have a correct and superb singing skills, good talent of performance, literary accomplishment and plentiful life experience. In addition, singers should also understand the time and background that the composer had been lived, as well as his life and his creative experience.
In conclusion, by writing this paper, the researcher can know this opera better and actual sing it to make discussion and interpretation. Also, it can provide a reference to other singers who are going to sing this opera.
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Mateus, Katherine Afonso Lopes. "A revisitação saramaguinana do mito de Don Juan à luz da ópera Il Dissoluto Punito, Ossia il Don Giovanni." Master's thesis, 2017. http://hdl.handle.net/10400.14/27411.
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O objetivo deste trabalho de investigação é a abordagem intertextual da obra Don Giovanni
ou O Dissoluto Absolvido, de José Saramago, bem como captar as transformações que o autor
operou na reescrita do mito de Don Juan. O trabalho divide-se em duas partes, na primeira
são estudadas as transformações sofridas pelo tema, mais especificamente nas obras citadas
pelo autor, apontando marcas comuns ou contrastantes que acreditamos terão condicionado e
influenciado a metamorfose operada por Saramago no mito. A segunda parte deste trabalho
de investigação incidiu na obra Don Giovanni ou O dissoluto absolvido e no diálogo e/ou
tensões resultantes do estudo comparativo com os textos literários precedentes. Na análise à
obra foi cuidada a língua e estilo do autor, o vasto universo paramiológico presente no texto,
bem como o discurso carnavalizador e a intenção de paródia relativamente ao hipotexto Don
Giovanni, Il dissoluto punito ossia il Don Giovanni de W. A. Mozart e Lorenzo da Ponte. À
guia de conclusão debruçamo-nos sobre a verdade subentendida por entre as linhas da obra e
no que José Saramago verdadeiramente nos pretendeu transmitir através da sua perspetiva
pós-modernista do mito de Don Juan.<br>The objective of this research is the intertextual approach of the book Don Giovanni or The
Dissolute absolved, by José Saramago, as well as capturing the transformations that the
author operated in the rewriting of the myth of Don Juan. The work is divided into two parts.
In the first one the transformations undergone by the theme are studied, more specifically in
the texts cited by the author, pointing out common or contrasting marks that we believe will
have conditioned and influenced the metamorphosis operated by Saramago in the myth. The
second part of this research focused on the book Don Giovanni or Dissolute absolved and
on the dialogue and/or tensions resulting from the comparative study with previous literary
texts. In this approach, we proceed to the analysis of the book, language and style of the
author, the vast paramiological universe present in the text, as well as the carnival discourse
and the parody intention with respect to the hypotext Don Giovanni, Il dissoluto punito ossia
il Don Giovanni by W. A. Mozart and Lorenzo da Ponte. The conclusion guide deals with
the truth implied by the lines of the book and what José Saramago truly intended to convey
to us through his postmodernist perspective of the myth of Don Juan.
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Chen, Ying-chen, and 陳盈臻. "The Interpretation and Research of two female characters from Le Nozze di Figaro and Don Giovanni by Wolfgang Amadeus Mozart / Chen Ying-Chen Soprano Recital." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/24005666053424505636.
Full textAbstract:
碩士<br>東吳大學<br>音樂學系<br>95<br>In opera of Mozart, many different kinds of female characters and personalities presented are quite attractive. Some of the female characters are similar in some way and are good for specific singers to interpret. However, if the singer can analyze and compare the similarity beforehand, the style and personality of the characters can be better interpreted.
The purpose of this research is to analyze two female characters（Susanna from
Le Nozze di Figaro and Zerlina from Don Giovanni）from two operas of Mozart. Two Arias, one from each female character, were chosen to analyze the lyrics, interaction between partner, melodies, and the accompany styles of the symphony.
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Gau, Yu-jing, and 高于敬. "The Analysis and Conducting Interpretationof Mozart’s Overture《Don Giovanni》K. 527The Analysis and Conducting Interpretationof Mozart’s Overture《Don Giovanni》K. 527." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/01930310795477070363.
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Chen, Kuanju, and 陳冠如. "The Analysis and Interpretation of Variations on” Là ci darem la mano” from Mozart’s”Don Giovanni” for Oboe and Piano by Ludwig van Beethoven." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/34504004497983135167.
Full textAbstract:
碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>99<br>Ludwig van Beethoven (1770-1827), who was born on the period of Classical through Romantic era, is a German composer along with performer. On the one hand, Beethoven had inherited the tradition such as Haydn (1732-1809) and Mozart (1756-1791). On the other hand, he began to compose individual music style. For his success at combining tradition and exploration and personal expression, he influenced the western music style in nineteen century.
The thesis consists of six chapters: the first chapter is the research motivation and methodology. The second chapter is to describe Beethoven’s early life and composing style and the history of variation. The third chapter is the original composer—Mozart’s opera and Don Giovanni. The subject of thesis has two editions: the original edition is Trio for two Oboes and English Horn; the revised edition is the Duet for Oboe and Piano. The fourth chapter, revised edition, aims at the analysis and interpretation. Moreover, the fifth chapter is to compare the motivation, music structure as well as the different type of variations between two editions. In the end, the sixth chapter is the conclusion.
Among Beethoven’s works, he composed less for the wind instrument. Therefore, the research may help performers to further understand about interpretation. It provides the suggestion to the following research as well.
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Hwang, Yu-Chen, and 黃羽晨. "A Research of the Compositional Analysis and Performance By Soprano～ According to Wolfgang Amadeus Mozart's "Le nozze di Figaro", "Don Giovanni", and "Cosi fan tutte" ～." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/99149744669060349729.
Full textAbstract:
碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>99<br>Mozart (Wolfgang Amadeus Mozart, 1756-1791) is the most important composers in the classical period, life made more than 650 songs, whenever symphonies, concertos, chamber music, religious music, piano, opera and so on. This paper I will focus on interpretation of the role of soprano singer of Mozart’s three harmonic opera "Le nozze di Figaro", "Don Giovanni", "Così fan tutte", from the musical form analysis, lyrics, actor between interactive, music melody, piano accompaniment, etc. to refine the role of chanting in tune when singing mood changes and emotional changes caused by plot-depth study.
Mozart’s opera wide variety of female roles, whenever maid, country girls, the countess, the role of housekeeper and so on. The author, after studying the three operas, concludes in common are: (1) the happy ending of the harmonic opera (2) the role of the lower class women, maid or country girls for example (3) including types of both Recitative and Aria; differences between the following: (1) only "Così fan tutte" to describe the woman's infidelity, the other two men are described in bothering to bring (2) emotional singing of "Le nozze di Figaro" relatively calm and "Don Giovanni" more volatile. Mozart had explained the different types of female roles by soprano tone and sound quality. Personal and emotional performance differ among them, so each suitable for certain singer to interpret. If the singer in concert before, will make analysis and comparison of the same and different characteristics of the role, it was believed a better grasp of the role of work style and personality on the character.