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Relevant bibliographies by topics / Mendelssohn - A Midsummer Night's Dream

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Academic literature on the topic 'Mendelssohn - A Midsummer Night's Dream'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Mendelssohn - A Midsummer Night's Dream"

1

Platte, Nathan. "Dream Analysis: Korngold, Mendelssohn, and Musical Adaptations in Warner Bros.' A Midsummer Night's Dream (1935)." 19th-Century Music 34, no. 3 (2011): 211–36. http://dx.doi.org/10.1525/ncm.2011.34.3.211.

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Abstract In his first film score, Erich Wolfgang Korngold adapted the works of Felix Mendelssohn so that the music seemed to interact and respond with the visual editing of the film, A Midsummer Night's Dream (Warner Bros., 1935). By detailing the facets of this unusual production, which range from Korngold's presence on the set to the publicity department's efforts to spotlight Mendelssohn's music and Korngold's arrangements, I argue that the score for Dream played an important role in elevating film music and film composers within the hierarchy of Hollywood production and publicity. Not only was the Mendelssohn-Korngold score given greater consideration during the film's making, but also audiences were reminded to listen to the film's music, a facet rarely acknowledged in other contemporaneous publicity drives. Importantly, these changes were effected and rationalized through the self-conscious foregrounding of the music, principles, and rhetoric of nineteenth-century Romanticism. Documents at the Warner Bros. Archive reveal how the confluence of these factors not only established the unusual tenor of Korngold's career within the Hollywood studio system but also helped construct the film composer's public image as an incongruously independent artist working within an otherwise collaborative medium.

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Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (June 2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.

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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.

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Santos Rutschman, Kirsten. "Midsummer Dreams: Felix Mendelssohn’s Swedish Connections." Nineteenth-Century Music Review 17, no. 1 (February 21, 2019): 3–33. http://dx.doi.org/10.1017/s1479409818000460.

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Two years after completing his overture to A Midsummer Night’s Dream (1826), Felix Mendelssohn-Bartholdy began to write of another vision: visiting his friend, the composer Adolf Fredrik Lindblad, in Sweden. Over the coming years, as Mendelssohn continually returned to this idea, additional reasons to make such a journey presented themselves: performances of his works in that city, including the Shakespearean overture, were well received; he became personally acquainted with Crown Prince Oscar, to whom he dedicated the op. 44 string quartets; he was elected to the Royal Swedish Academy of Music; his first cousin, Josephine (‘Peppi’) Benedicks, lived in Stockholm; and his friendship with Jenny Lind in the last years of his life only strengthened his interest in the north.While Mendelssohn’s letters to Lindblad have long been known to scholars, the Gegenbriefe from Lindblad remain unpublished. For the first time, his voice is now fully restored to the conversation in an extensive correspondence that contributes to knowledge of Mendelssohn’s interpretations of his own music and his early reverence for the late Beethoven string quartets. In addition, this article also uncovers epistolary evidence of a cluster of related compositions by Mendelssohn and Lindblad spawned by Mendelssohn’s interest in the quartet in F Major (op. 135), including a little-known song that Lindblad dedicated to Felix on the occasion of his marriage.Mendelssohn’s journeys to Scotland and Italy inspired his musical imagination in ways that have richly benefitted the concert repertoire. How might he have translated his impressions of Nordic history, culture and geography into new aural atmospheres, had he followed his dream to travel northwards?

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Kimber, M. W. "Reading Shakespeare, Seeing Mendelssohn: Concert Readings of A Midsummer Night's Dream, ca. 1850-1920." Musical Quarterly 89, no. 2-3 (August 8, 2007): 199–236. http://dx.doi.org/10.1093/musqtl/gdm002.

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Brady, Owen E., William Shakespeare, and Samuel Beckett. "A Midsummer Night's Dream." Theatre Journal 37, no. 1 (March 1985): 111. http://dx.doi.org/10.2307/3207192.

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Kolin, Philip C., and William Shakespeare. "A Midsummer Night's Dream." Theatre Journal 39, no. 1 (March 1987): 100. http://dx.doi.org/10.2307/3207628.

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Asp, Carolyn, Vincent Bruckert, and William Shakespeare. "A Midsummer Night's Dream." Theatre Journal 43, no. 2 (May 1991): 258. http://dx.doi.org/10.2307/3208228.

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Frym, Michael Lee, and William Shakespeare. "A Midsummer Night's Dream." Theatre Journal 45, no. 1 (March 1993): 116. http://dx.doi.org/10.2307/3208594.

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Wolf, Stacy, Michael Peterson, and William Shakespeare. "A Midsummer Night's Dream." Theatre Journal 44, no. 2 (May 1992): 227. http://dx.doi.org/10.2307/3208744.

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Demastes, William W., and William Shakespeare. "A Midsummer Night's Dream." Theatre Journal 45, no. 2 (May 1993): 238. http://dx.doi.org/10.2307/3208927.

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Dissertations / Theses on the topic "Mendelssohn - A Midsummer Night's Dream"

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Sianos, Helen M. "A midsummer night's dream and two plays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/MQ52731.pdf.

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Mesich, Jonathan Thomas. "A Midsummer Night's Dream: A Scenic Design." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/598477.

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Theater
M.F.A.
My thesis is about my experience designing the set for fall 2018 production of A Midsummer Night’s Dream in Randall Theater, Tomlinson in Temple University. It will explain how I started with the design from reading the script to the final step of the production. Being deaf helped me to visualize the concept of the scenic design for the play. I learned so much about communication with the director and creative team. The chapter one explains the production meeting with the director, where we shared our ideas for the design of the scenic. Chapter two explains my research and inspiration, progressing from rough sketches to final color model set. Chapter three explains how we started to build and paint the set from drafting and paint elevations. It also outlines the progress of building and painting in the black box theatre. It will also briefly explain how we created props such as the flower, and the technical rehearsals. Chapter 4 explains about my evaluation of the set such as what it would need to work on or fix and how proud I was with my work. Chapter 5 is a reflection on this production and my experience in the graduate program. Appendices include research pictures for inspiration, drafting, production pictures, renderings, white model, color models, resume, headshot, technical rehearsal notes, director’s concept and previous productions I designed from first 2 years.
Temple University--Theses

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Lapinski, Bobby (Robert M. ). "The Orchestral Clarinetist's Guide to Selected Second Clarinet Excerpts." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984160/.

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Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing second clarinet will be discussed as a whole and as it pertains to selected excerpts. The excerpts included in this document are: Bartók Concerto for Orchestra, Mendelssohn The Hebrides and Scherzo from A Midsummer Night's Dream, Ravel Daphis et Chloé and Rapsodie Espagnole, and Tchaikovsky Symphony No. 5.

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Song, Jung Eun. "A study of laughing points in A midsummer night's dream." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1240494599.

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Schneider, David S. "The Worlds Behind the Worlds: Directing Shakespeare's "A Midsummer Night's Dream"." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1796120811&sid=11&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Buchanan, Henry. "The puzzle of the Indian boy in A midsummer night's dream." Thesis restricted. Connect to e-thesis to view abstract. Move to record for print copy, 2007. http://theses.gla.ac.uk/765/.

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Thesis (M.Phil.) - University of Glasgow, 2007.
M.Phil. thesis submitted to the Faculty of Arts, Department of English Literature, University of Glasgow, 2007. Includes bibliographical references. Print version also available.

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Contreras, Annliss. "A midsummer night's dream : subjective reality as a "House of Mirror"." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2429.

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Shakespeare’s artistic and philosophical genius in A Midsummer Night’s Dream, particularly how the portrays subjectivity as the contorted and incoherent images inside a “House of Mirrors,” is the focus of this thesis. By viewing the play from the vantage point of the subjective mind and projecting outward, I posit that the play treats human existence as fluid, making “reality” an elusive and indefinable concept. First, I evaluate the play’s depiction of human desire, a perverse formlessness, which having run its full cycle, will turn on itself revealing an inherent weakness in our nature. Secondly, A Midsummer Night’s Dream also complicates matters of social reality as man’s inconsistencies of identity and perception allow for the blurring, violation and ultimate implosion of physical and mental spaces, once again leading us to the “House of Mirrors” not just as a metaphor for subjective perception, but likewise for the complexity and negotiation of life. Lastly, having noted the fluidity of the mental images generated by the play, my analysis concludes by focusing on how the Shakespearean stage synthesizes the “House of Mirrors” and theatrum mundi metaphors to reveal the implications of subjectivity in the playwright’s humanistic philosophy.

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St, Germain Joan Marie Parker Dennis Arnold. "The conception and production of costume designs for A midsummer night's dream /." Connect to this title online, 1990. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1102539319.

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Kardel, Maria M. "Fairy politics : productions of A Midsummer Night's Dream in Poland, 1946-1970." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574576.

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In this thesis, I analyse the interpretations and reception of William Shakespeare's A Midsummer Night's Dream in Polish theatre between 1946 and 1970. My main focus is to investigate the influence of political, historical and economic circumstances on the shape of five specific productions. Thus, A Midsummer Night's Dream emerges as a political play, which - to Polish audiences in the specified period - addressed the issues of subversion and challenge to the established authority, social distinctions and conflicts and the nature of performance under political oppression. I take Jan Kott's reinterpretation of the play in Shakespeare Our Contemporary as a vantage point for discussion about the factors that caused this shift from operatic/fairy-tale interpretations, to socio-political/anthropological readings. The first three chapters of this thesis offer insight into the cultural, historical and political background of understanding and performing Shakespeare in Poland. I demonstrate the significance of Polish Romantic and neo-Romantic drama in shaping attitudes towards Shakespeare's plays facilitating the cultural adoption of Shakespeare as a quasi-national poet. The historical chapter presents an overview of the political changes in post-war Poland, explaining how these impacted on the social and theatrical life, including the funding of the arts and the degree of state control over Polish theatre. In the critical chapter, I collate Polish scholarly approaches to A Midsummer Night's Dream, presenting socio-political, historicist and anthropological interpretations that anticipate certain trends in modem Western criticism. An overview of Slavic mythology presents ideas applicable to domesticating and visualising the supernatural elements of the play. The five post-war productions of A Midsummer Night's Dream I reconstruct in the subsequent chapters demonstrate gradual reinterpretation of the play from a feerie (B. Dabrowski, 1947), through monumental post-Romantic approach (W. Horzyca, 1946, 1948, 1953) and modernised commedia dell'arte (A. Bardini, 1959) to anthropological and socio-political readings (L. Zamkow, 1963; K. Swinarski, 1970).

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Becker, David. "A MIDSUMMER NIGHT'S DREAM ON THE RADIO: TECHNOLOGY IN VOICE AND SPEECH." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2250.

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Recent advances in sound technology have had significant implications for the teaching of voice and speech that are only now becoming apparent. As more students become “plugged in” it becomes more difficult, both for the instructor and the student, to communicate, let alone find a voice. We are becoming increasingly addicted to communicating through our devices, rather than through the traditional and accepted modes of the past: using the human voice. In light of these rapid and various new developments, voice training, especially at the introductory level, needs to be examined anew. A number of traditional approaches and teaching methods for twenty-first century Generation Y students may need to be reconsidered or updated. Technical advancements - which are affecting actual physical changes in our human condition - necessitate that the voice instructor be informed by, and where possible incorporate, the new technologies into teaching. This thesis focuses on possible ways to combine and integrate such technologies with traditional practices of voice and speech training in an attempt to reestablish the importance, vibrancy and creative potential of the spoken voice in theater performance. This thesis includes a record of a production that I directed in the fall of 2009: A MIDSUMMER NIGHT’S DREAM 2009 ON THE RADIO and its later Podcast.

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Books on the topic "Mendelssohn - A Midsummer Night's Dream"

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Mendelssohn, the Hebrides and other overtures: A midsummer night's dream, Calm sea and prosperous voyage, The Hebrides (Fingal's cave). New York, NY, USA: Cambridge University Press, 1993.

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Todd, R. Larry. Mendelssohn: The Hebrides and other overtures : A midsummer night's dream, Calm sea and prosperous voyage, The Hebrides (Fingal's cave). Cambridge: Cambridge University Press, 1993.

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3

Lee, Mi-Ae, and Elsa Huet. Mendelssohn's a Midsummer Night's Dream. ChoiceMaker Pty. Limited, The, 2017.

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Cowley, Joy. Mendelssohn's A Midsummer Night's Dream. Big Small Publishing, 2012.

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Mendelssohn-Bartholdy, Felix. Mendelssohn Midsummer Nights Dream Cdrom (Naxos Classical). Naxos Audio Music, 2003.

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Wilson Kimber, Marian. Reading the Fairies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0003.

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Between 1850 and 1920, readings of Shakespeare’s A Midsummer Night’s Dream by women took place in conjunction with concerts of Felix Mendelssohn’s incidental music, popularized by actress Fanny Kemble. The practice responsed to criticism of the physicality of theatrical stagings and the ability of Mendelssohn’s music to depict extramusical content. Female elocutionists were considered ideal performers due to the depiction of fairies as female and in order to render Shakespeare’s pure poetry stripped of theatrical excess. The combination of Shakespeare and Mendelssohn represented the highest level of elocutionary art. In reading A Midsummer Night’s Dream, elocutionists became more voice than body, and the fairy elements were transmitted through Mendelssohn’s magical music, mediating the problem of the female body displayed on the stage.

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7

Shakespeare, William. Midsummer Night's Dream. Harcourt Canada, Limited, 2000.

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Shakespeare, William. Midsummer Night's Dream. Teacher Created Materials, Incorporated, 2015.

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Shakespeare, William. Midsummer Night's Dream. Lerner Publishing Group, 2014.

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Midsummer Night's Dream. Wilder Publications, Incorporated, 2013.

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Book chapters on the topic "Mendelssohn - A Midsummer Night's Dream"

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Döring, Tobias. "Shakespeare, William: A Midsummer Night's Dream." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17036-1.

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Kucharczyk, Stefan, and Maureen Kucharczyk. "Year 2, A Midsummer Night's Dream." In Teaching Shakespeare in Primary Schools, 73–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003023944-8.

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Johnson, Kathryn L., and Laurie Heineman. "Introductory Activities for A Midsummer Night's Dream." In Advanced Placement Classroom A Midsummer Night's Dream, 15–35. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232803-2.

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Boehrer, Bruce Thomas. "4. Bestial Buggery in A Midsummer Night's Dream." In The Production of English Renaissance Culture, edited by David Lee Miller, Sharon O’Dair, and Harold Weber, 123–50. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744686-006.

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Johnson, Kathryn L., and Laurie Heineman. "Introduction." In Advanced Placement Classroom A Midsummer Night's Dream, 3–14. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232803-1.

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Johnson, Kathryn L., and Laurie Heineman. "Act V." In Advanced Placement Classroom A Midsummer Night's Dream, 115–24. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232803-7.

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Johnson, Kathryn L., and Laurie Heineman. "Act I." In Advanced Placement Classroom A Midsummer Night's Dream, 37–63. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232803-3.

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Johnson, Kathryn L., and Laurie Heineman. "Act III." In Advanced Placement Classroom A Midsummer Night's Dream, 83–102. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232803-5.

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Johnson, Kathryn L., and Laurie Heineman. "Act IV." In Advanced Placement Classroom A Midsummer Night's Dream, 103–14. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232803-6.

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Johnson, Kathryn L., and Laurie Heineman. "Act II." In Advanced Placement Classroom A Midsummer Night's Dream, 65–81. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232803-4.

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Conference papers on the topic "Mendelssohn - A Midsummer Night's Dream"

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Duncan, Brittany A., Robin R. Murphy, Dylan Shell, and Amy G. Hopper. "A midsummer night's dream." In Proceeding of the 5th ACM/IEEE international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1734454.1734487.

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Duncan, Brittany A., Robin R. Murphy, Dylan Shell, and Amy G. Hopper. "A Midsummer Night's Dream: Social proof in HRI." In 2010 5th ACM/IEEE International Conference on Human-Robot Interaction (HRI). IEEE, 2010. http://dx.doi.org/10.1109/hri.2010.5453254.

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Reports on the topic "Mendelssohn - A Midsummer Night's Dream"

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Cho, Seunghye. Exploring Theatrical Costume Design in Fashion: an Interdisciplinary Production of Shakespeare's A Midsummer Night's Dream. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-71.

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