Relevant bibliographies by topics / Melodrama in music

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

Academic literature on the topic 'Melodrama in music'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Melodrama in music"

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Glatthorn, Austin. "The Legacy of ‘ Ariadne’ and the Melodramatic Sublime." Music and Letters 100, no. 2 (May 1, 2019): 233–70. http://dx.doi.org/10.1093/ml/gcy116.

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Abstract Georg Benda’s Ariadne auf Naxos (1775) was an immediate success. By the end of the century, not only was it in the repertory of nearly every German theatre, but it was also one of the few German-language pieces translated for performances across Europe. Central to this melodrama—traditionally defined as an alternation of emotional declamation and pantomime with instrumental music—is its evocation of the sublime. Though scholars have posited Ariadne and its defining aesthetics as a model employed in subsequent Romantic opera, such teleological readings overlook reform melodramas that embraced vocal music and localized sublime moments. I argue that these works, rather than Ariadne, pushed melodrama’s generic boundaries to the verge of opera and in the process provided instrumental music with the power to express the sublime without the aid of text. This exploration offers fresh insight into melodrama’s music–text relations, generic hybridity, and aesthetic entanglements with opera and symphonic music.
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Wang, Dan. "Melodrama, Two Ways." 19th-Century Music 36, no. 2 (2012): 122–35. http://dx.doi.org/10.1525/ncm.2012.36.2.122.

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Abstract The word “melodrama” has accumulated a vast range of uses and definitions. It is the name given to the technique of combining words and music (as in the nineteenth-century musical genre); it is also used to name a mode of expressivity that is exaggerated, excessive, sentimental. These definitions appear unrelated, yet the melodramatic mode also seems to emerge frequently in musical contexts, such as opera and film—raising the question of whether the joining of words and music as such already tends toward, or attracts, a melodramatic impulse. This article first sketches the features of the melodramatic mode as they are described in writing on theater, film, and the novel before turning to a close reading of Richard Strauss's Enoch Arden, op. 38, a melodrama for speaker and piano. I aim to show that not only the themes of Enoch Arden's narrative but also the form of its narration, the meaningfulness it draws from the facts or conditions of narration as such, provide its claim to the melodramatic mode.
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Kaleva, Daniela. "Beethoven and melodrama." Musicology Australia 23, no. 1 (January 2000): 49–75. http://dx.doi.org/10.1080/08145857.2000.10415914.

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HAMBRIDGE, KATHERINE, and JONATHAN HICKS. "THE MELODRAMATIC MOMENT, 1790–1820 KING’S COLLEGE LONDON, 27–29 MARCH 2014." Eighteenth Century Music 12, no. 1 (February 17, 2015): 130–33. http://dx.doi.org/10.1017/s1478570614000566.

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This conference, a collaboration between the two projects ‘French Theatre of the Napoleonic Era’ at Warwick University and ‘Music in London, 1800–1851’ at King's College London, was intended to foster interdisciplinary dialogue about early melodrama. In particular, the aim was to investigate the relationship between melodramatic techniques (spoken word over or alternated with instrumental music), melodramatic aesthetics (such as strong contrasts between good and evil and extremes of emotion) and the generic category of melodrama (given to various concert and theatrical forms). While discussion necessarily engaged with phenomena either side of the thirty years specified by the title, participants focused on the period in which melodrama came to prominence as a stage genre, a period in which several of the key European traditions coincided.
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Summerhayes, Catherine. "Translative Performance in Documentary Film: Bob Connolly and Robin Anderson's Facing the Music." Media International Australia 104, no. 1 (August 2002): 19–29. http://dx.doi.org/10.1177/1329878x0210400105.

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Facing the Music (2001) is a film that performs at many levels. While its primary narrative is about the effects of government funding cuts to universities, and specifically the effect on the University of Sydney's Music Department, the film also weaves other more generic stories about people and how they interact with each other. Connolly's and Anderson's complex and confronting style of observational film-making is examined in the context of this film for the ways in which it ‘assumes' that film can ‘translate’ the details of people's everyday lives into a broad discussion of particular social issues and conflicts. As with all translations, however, some meanings inadvertently are lost and others added. Drawing on Walter Benjamin's idea of ‘translatability’ and Brecht's concept of gest, this paper describes how particular cultural meanings which are embedded within the documentary film, Facing the Music, can be accessed through the ways in which the audiovisual text ‘melodramatically’ presents people and profilmic events. Thomas Elsaesser's definition of classic fictional melodrama, as a ‘closed’ world of ‘inner’ violence where ‘characters are acted upon’, becomes a guide to understanding the film's secondary narratives about the operation of particular stereotypical, binary representations: men and women; artists and ‘the rest of the world’; academics (‘gown’) and other people (‘town’). Using Laura Mulvey's further distinction of ‘matriarchal’ and ‘patriarchal’ melodramas. Facing the Music is described as a ‘matriarchal’ documentary melodrama. The film's selective translation of how people live their lives in a particular social situation is thereby discussed as a further translation into the broader discourses of gender and power relations in a society.
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Fanning, David, Prokofiev, Sinfonia, Edward Downes, Timothy West, Samuel West, Niamh Cusack, and Dominic Mafham. "Eugene Onegin, Melodrama in 16 Scenes." Musical Times 136, no. 1824 (February 1995): 106. http://dx.doi.org/10.2307/1193643.

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Seinen, Nathan. "Prokofiev's Semyon Kotko and the melodrama of High Stalinism." Cambridge Opera Journal 21, no. 3 (November 2009): 203–36. http://dx.doi.org/10.1017/s0954586710000212.

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AbstractThis article examines the first opera of Prokofiev's Soviet period, Semyon Kotko (1939), in light of the disparity between two forms of melodrama, one affecting the opera's composition, the other its reception. The first is the classic melodrama, which offered the composer the foundation for a vivid, intense work that would also be suitable for a mass audience; the second is the melodrama reflecting the aesthetic norms and moral framework of socialist realism and High Stalinism. The simplicity and immediacy of Kotko avoided the directed emotionalism of the officially favoured model of Romantic opera, and the Ukrainian setting prompted references to the tradition of Gogolian comedy rather than an elevation of folk content to an epic dimension. Characters conform to archetypes of classic melodrama, and together with the opera's comic elements and the unique gestural idiom of its music and manner of performance, this detracted from the required effects of sublime heroism and nationalism. While the outlines of a socialist realist plot remain in Kotko, Prokofiev's commitment to what he considered timeless values of music and drama led to a failure, in socialist realist terms, to achieve an appropriate amplification of its moral essence.
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Hibberd, Sarah, and Nanette Nielsen. "Music in Melodrama: ‘The Burden of Ineffable Expression’?" Nineteenth Century Theatre and Film 29, no. 2 (November 2002): 30–39. http://dx.doi.org/10.7227/nctf.29.2.4.

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Cormac, Joanne. "From Tragedy to Melodrama: Rethinking Liszt's Hamlet." Nineteenth-Century Music Review 10, no. 1 (June 2013): 29–55. http://dx.doi.org/10.1017/s1479409813000037.

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Liszt composed the symphonic poem Hamlet towards the end of his tenure as Kapellmeister of the Weimar Court Theatre, a time when he regularly conducted operas, concerts, incidental music and variety performances. It was also a time when he frequently came into contact with artists, writers, musicians and actors. One actor in particular left a memorable impression: Bogumil Dawison. Dawison's style was unusual at the time; his performances were noted for their aggression, expressiveness and energy, and many praised the flexibility of his voice and face. Dawison aimed for a realistic approach in response to Goethe's Classicism, but the result was closer to the melodramatic style that was gaining in popularity at the time. His portrayal of Hamlet was particularly innovative, and it captured Liszt's imagination shortly before he composed the symphonic poem inspired by Shakespeare's tragedy.The relationship between the world of the theatre (particularly spoken theatre) and the symphonic poems has never before been explored in Liszt scholarship, yet, as this article reveals, spoken theatre had a significant influence on Hamlet. Indeed, this article will draw new stylistic and conceptual parallels between this symphonic poem and both melodrama as a genre and its related ‘melodramatic’ style of acting. The article argues that Dawison's influence can be traced in Liszt's approach to this work and that a ‘melodramatic reading’ can enable us to interpret some of its more puzzling aspects.
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Lockhart, Ellen. "Pimmalione: Rousseau and the Melodramatisation of Italian Opera." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 1–39. http://dx.doi.org/10.1017/s0954586713000347.

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AbstractThis article traces the Italian reception of Jean-Jacques Rousseau and Horace Coignet’sPygmalion(1770), ultimately arguing that the influence of early melodrama (and not the better-remembered Viennese reform) was behind the emergence of a style of speech-like singing and gestural mirroring in Italian opera in the decades immediately around 1800. Rousseauian melodrama was one of a few related projects subsuming the spoken word within the domain of music during the 1770s and 1780s; another was Joshua Steele’sProsodia rationalis, which proposed a system of modified music notation in order to preserve and transmit the spoken word. This article suggests (contra most recent historians of melodrama) that such projects were inflected by a kind of twilight classicism, in which the revived object was made to show signs of decay. The revivalist strain in the first melodrama was particularly important for its Italian reception. Rousseau’s ideal of an ancient, onomatopoeic language collapsing meaning and medium was naturalised into the rhetoric of Italian opera reform during the 1770s and 1780s by the Jesuit theorists Antonio Eximeno and Stefano Arteaga. By way of a coda, this article traces the emergence of a ‘melodramatic’ style of Italian opera, first in all-sung adaptations ofPygmalion, thence into Venetian opera of the 1790s more broadly, and finally into Donizetti’s techniques of gestural mirroring and what was called the ‘canto filosofico’ of Bellini’s early operas.
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Dissertations / Theses on the topic "Melodrama in music"

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Gallo, Franklin James. "A performing edition and analysis of "A Sacred Melodrama" by Normand Lockwood." Thesis, University of Hartford, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561101.

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Normand Lockwood was a prolific 20th Century American composer who composed more than 500 works for many instrumental and vocal genres. The following document presents a performing edition and analysis of A Sacred Melodrama (1998), a major work written for mezzo-soprano and tenor soloists, SATB chorus, and orchestra that was composed during the last decade of Lockwood's life. A brief biography and critical editorial notes are included.

Lockwood wrote A Sacred Melodrama in a neo-classical style that juxtaposes Medieval, Renaissance, and Baroque inspired compositional practices with 20th Century techniques. Lockwood complemented his style by setting ancient and modern texts that include portions of Missa pro defunctis in Greek, Latin, and in English translation, with lines from Whitman's When Lilacs Last in the Dooryard Bloom'd, among others.

Normand Lockwood is a relatively unknown 20th Century American composer. Few studies have been conducted on his works, and even fewer regarding works composed during his final decade. This document will contribute to the deserving rediscovery, study, and performance of A Sacred Melodrama and the many other exceptional works by Normand Lockwood.

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Morris, John. "Two shadows in the moonlight : music in British film melodrama of the 1940s." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/11638.

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Includes bibliographical references (p. 135-140).
In this thesis I examine the differences between music in the two cinemas. Concentrating on exemplary films from the late 1930s to the early 1950s, I show how the apparent differences are manifested, and by analysing a number of key British films, I illustrate the modes of musical expression used. There are many ways to approach film music. My own interest lies in the connection between music of the romantic period of the 19th century and what became of it during the 20th. "Serious" music from Schoenberg onwards became increasingly dissonant, but the rich melodic tones of romantic music appear to have found a new home in the cinema, and in this thesis I explore how film composers kept the previous traditions alive.
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Hurley, Therese. "Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12991.

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The purpose of this study is to examine the presentation of Joan of Arc's life in two lyric works, Jules Barbier and Charles Gounod's Jeanne d'Arc (1873) and Auguste Mermet's Jeanne d'Arc (1876), that premiered in Paris following the upheaval of the Franco-Prussian War and Paris Commune. Relying on Parisian journals of the day, I follow two trends: some critics called for a historically-informed presentation of Joan's life and others appealed to retain certain supernatural elements, specifically the Fairy Tree and the Voices, of Joan's story. In addition to these trends, I consider an article printed shortly before the premiere of Mermet's opera and discuss the political and religious implications of the final scene (Charles VII Coronation in Reims or Joan's execution in Rouen) in these two stage works. After an introductory chapter and a chapter tracing the geneses of the melodrama and the opera, the remaining chapters each deal specifically with one of the three above-mentioned lines of inquiry as they relate to Joan of Arc's story. Chapter III discusses historical characters (Charles, duc d'Orléans, King René, and Agnès Sorel), historical music (minuet and Vexilla regis), and music believed to have been sung in the presence of Joan of Arc (Veni Creator Spiritus and Orate pro ea). Chapter IV addresses the continuing presence of legendary, supernatural elements--specifically the Fairy Tree and the Voices--and how these elements have changed in nineteenth-century stage works about Joan. In Chapter V, the difficulty of adapting Joan's life on the stage is examined. A closer look reveals that differing views existed during the 1870s as to exactly what her mission entailed. The two works reflect the changing attitudes on this topic. As a whole, this dissertation offers an examination of two rarely discussed stage works that reveal the political, religious, and musical climate surrounding the figure of Joan of Arc in the 1870s.
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Laing, Heather Ann. "Wandering minds and anchored bodies: music, gender and emotion in melodrama and the woman's film." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/2320/.

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This thesis examines the role of music and cultural conceptions of emotion and `the feminine' in gendered characterisation in 1940s melodrama and the woman's film. Music in melodrama and the woman's film predominantly follows the late-19th century Romantic style of composition. Many theorists have discussed this type of music in film as a signifier of emotion and `the feminine', a capacity in which it is frequently associated with female characters. The full effect of an association with this kind of music on either female or male characterisation, however, has not been examined. This study considers the effects of this association through three stages - cultural-historical precedents, the generic parameters of melodrama and the woman's film and the narrativisation of music in film. The specific study of films involves textual and musical analysis informed by cultural-historical ideas, film music theory and film theory. Since female characters are more commonly associated with music in this context, they form the primary focus of the study. Male musical-emotional characterisation, while of constant concern, comes under particular scrutiny as the final stage of the study. In conclusion I argue that cultural assumptions combine with the formal representations of film to construct a model of gender based on the idea of `inherent' emotionality. As a definitive element of this dynamic, music functions as more than just a signifier of emotion. Rather, it takes a crucial role in determining how we actually understand emotion as part of gendered characterisation.
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Penney, Diane Holloway. "Schoenberg's Janus-Work Erwartung: Its Musico-Dramatic Structure and Relationship to the Melodrama and Lied Traditions." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330712/.

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Arnold Schoenberg's atonal monodrama, Erwartune. Op. 17 (1909). has been viewed as an unanalyzable athematic aberration, without any discernible form. Recognizing Erwartune's forward-looking aspect, this dissertation also explores the melodrama and the Lied, a connection with the past which forges a new understanding of its form and structure.
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Elfline, Robert P. ""A Kind of composition that does not yet exist": Robert Schumann and the rise of the spoken ballad /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1179353794.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: Dr. Bruce D. McClung. Title from electronic thesis title page (viewed Nov. 28, 2007). Includes abstract. Keywords: melodrama; narrator; Schumann; lizst; strauss; ballad. Includes bibliographical references.
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Feezell, Mark Brandon. "The Light, for Two Narrators and Chamber Ensemble." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4220/.

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The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.
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Oliveira, Maria Cecilia de. "O despertar para uma nova vocalidade." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-06022014-164409/.

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Este trabalho tem por finalidade apontar determinados aspectos que nortearam algumas das principais especulações realizadas no campo da nova vocalidade na música escrita no despontar do século XX. A prática da voz inserida no mundo moderno se desenvolve com as bruscas mudanças que alteram os parâmetros da produção musical e da compreensão dos elementos de musicalidade que surgem nas primeiras décadas do século passado. Sucintamente, aborda o espectro de percepções estéticas e cognitivas que um ouvinte carrega em seu intelecto e o ambiente histórico de uma obra que são fundamentos para a contemplação, reflexão e que permitem entender a voz. Essa prática que se foi acrescendo paulatinamente de \"novos\" recursos tomados \"emprestados\" da prática da emissão vocal na fala e no canto cotidiano traz nova oralidade e vocalidade, fazendo surgir uma \"nova\" sonoridade que futuramente se intensificará em múltiplas tendências, principalmente a partir do final dos anos 50 e início dos 60 do século XX. O seu florescimento estende-se até os dias atuais teve como ponto de partida muitas das reflexões e pesquisas que a Segunda Escola de Viena trouxe para a música. Para embasar este estudo foi levantado um conjunto de obras vocais de Arnold Schoenberg, Anton Webern, Alban Berg e Edward Steuermann, que tem como ferramenta de análise a Teoria dos Conjuntos de Joseph Straus.
This paper aims at pointing out specific aspects that guided some of the main theories made in the field of new vocality in writing music that happened in the beginning of the 20th century. At that period the practice of speech inserted in the modern world was also developed by the sudden changes that altered the parameters of music production and the understanding of the elements of musicality. Shortly, this paper also discusses the spectrum of aesthetic and cognitive perceptions that a listener carries in his/her intellect and the historic setting which are grounds for contemplation and reflection for they allow the listener to understand the voice, and even extend the appreciation and understanding of the sound. Such practice gradually added to itself new features taken from vocal speech and everyday singing bringing new orality and voicing. This activity generated a \"new\" sound that would appear in multiple trends, mainly in the late 50s and early 60s of the 20th century. It is there up to the present days and it had as a starting point reflections and researches that the Second Viennese School brought to the music. To support this study a number of vocal works of Arnold Schoenberg, Anton Webern, Alban Berg and Edward Steuermann, were taken into consideration, which use Joseph Straus\' Theory of Groups as tool for analysis
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Kühn, Ulrich. "Sprech-Ton-Kunst : musikalisches Sprechen und Formen des Melodrams im Schauspiel- und Musiktheater (1770 - 1933) /." Tübingen : Niemeyer, 2001. http://www.loc.gov/catdir/toc/fy054/2003445063.html.

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Goh, Yen-Lin. "Reimagining the Story of Lu You and Tang Wan: Ge Gan-ru's Wrong, Wrong, Wrong! and Hard, Hard, Hard!" Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1349118390.

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Books on the topic "Melodrama in music"

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Lorde. Melodrama. Milwaukee, WI: Hal Leonard, 2017.

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1941-, McLucas Anne Dhu, and Dumas Alexandre 1802-1870, eds. Later melodrama in America: Monte Cristo (ca. 1883). New York: Garland, 1994.

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Verdi's 'Il trovatore': The quintessential Italian melodrama. Rochester, NY: University of Rochester Press, 2012.

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Melodramatic voices: Understanding music drama. Burlington, VT: Ashgate, 2011.

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Küster, Ulrike. Das Melodrama: Zum ästhetikgeschichtlichen Zusammenhang von Dichtung und Musik im 18. Jahrhundert. Frankfurt am Main: P. Lang, 1994.

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Giuseppe, Verdi. Macbeth: Melodramma in quattro atti = Melodrama in vier Akten : Textbuch Italienisch/Deutsch. Stuttgart: Philipp Reclam jun., 1986.

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Als Bürger leben, als Halbgott sprechen: Melodram, Deklamation und Sprechgesang im wilhelminischen Reich. Köln: Böhlau, 2008.

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Giuseppe, Verdi. Macbeth: Melodrama in quattro atti. Bruxelles: Theatre royal de la Monnaie, 2001.

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Holzmann, Hubert. "Pygmalion in München": Richard Strauss und das Konzertmelodram um 1900. Erlangen: CEJ Druckhaus Mayer, 2003.

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En musique dans le texte: Le mélodrame de Rousseau à Schoenberg. Paris: Van Dieren éditeur, 2005.

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Book chapters on the topic "Melodrama in music"

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Sandrow, Nahmha. "ACT 2. Popular Yiddish Theater: Music, Melodrama, and Operetta." In New York's Yiddish Theater, edited by Edna Nahshon, 64–83. New York Chichester, West Sussex: Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-004.

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Mednicov, Melissa L. "The Sound and Look of Melodrama in Pauline Boty’s Pop Paintings." In Pop Art and Popular Music, 58–77. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-4.

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Grigorian, Natasha. "Text, Image and Music: Paul Valéry’s Melodrama Sémiramis and the Influence of the Ballets Russes." In Questions of Influence in Modern French Literature, 71–83. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137309143_6.

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Donnelly, K. J. "Wicked Sounds and Magic Melodies: Music in Gainsborough Melodramas." In British Film Music and Film Musicals, 40–55. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230597747_3.

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Ringer, Alexander L. "Ein „Drama mit Musik” und „Dreimal sieben Melodramen”." In Arnold Schönberg Das Leben im Werk, 168–77. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02864-8_10.

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Maintz, Christian. "„Der Wind hat mir ein Lied erzählt …“: Diegetische Musik im filmischen Melodram." In Transmediale Genre-Passagen, 195–209. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-09426-3_8.

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"Janáček and Melodrama." In Melodramatic Voices: Understanding Music Drama, 143–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315594804-18.

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Pisani, Michael V. "Melodramatic Music." In The Cambridge Companion to English Melodrama, 95–111. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9781316155875.008.

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Wilkins, Heidi. "All That Jazz: The Diegetic Soundtrack in Melodrama." In Talkies, Road Movies and Chick Flicks. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474406895.003.0003.

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As modern film audiences, we are well aware of the capacity of music soundtracks to perform a multitude of functions in film. Music, whether diegetic (a part of the world of the film) or non-diegetic (outside of the world of the film), has the capacity to create emotion or humour; to be narrative or symbolic; to create atmosphere or provide information about a setting; and in its various forms, music is integral in creating meaning about film characters. This chapter looks at the use of music in melodramas of the 1940s and the 1950s. Melodrama is a film genre that notoriously makes use of music for its emotional capacity and for its ability to generate meaning about female protagonists in film texts that have been historically labelled as ‘women’s films’ or ‘female weepies’. In this discussion, I am interested in the use of diegetic music in melodrama, the function of which appears more difficult to outline. Diegetic music is also crucial in providing semantic information about characters and in establishing time and place. Yet what links can be drawn between diegetic music and the representation of gender in melodrama?
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10

Lockhart, Ellen. "Pimmalione." In Animation, Plasticity, and Music in Italy, 1770-1830. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284432.003.0003.

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This chapter traces the reception of Rousseau’s melodrama Pygmalion on the Italian peninsula during the final decades of the eighteenth century. It argues that these decades also saw a renewed impetus for a revival of the ancient Greek and Roman speech-song—an impetus that can be found within Rousseau’s musical writings and within the invention and reception of melodrama itself. A kind of Italian opera that drew on the themes and techniques of melodrama came into being in Venice in the 1790s.
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