Dissertations / Theses on the topic 'Musical librettos'

Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one time, will question the existence and nature of God. The play does not presume to answer these questions, but allows each participant to decide for himself, as Raven must decide for herself.

Tesi--Zürich, 1989.
Contient les livrets suivants : Narciso, Muzio Scevola, Floridante, Scipione, Alessandro, Riccardo I, Arianna in Naxo, David e Bersabea, Enea nel Lazio, Polifemo, Ifigenia in Aulide, Orfeo, Festa d'Imeneo, Deidamia. Bibliogr. p. XLVII-XLIX. Index.

The epochal musical Hair is based predominantly on the actions and reactions to the cultural and societal occurrences of the Sixties. So, what can be done to help in the understanding of this historic musical? The answer: to produce an annotated text of the musical that will offer support to director and cast. The study consists of four chapters; the first, an introduction to the study; the second, a historical review (1960-1970); the third, the annotations which seeks to identify and explain all unfamiliar or unusual words, cultural obscurities, or personalities that might confuse, or otherwise mislead a full and comprehensive understanding of the author's original concept; and fourth, the worldwide performances of Hair and revivals after the original Broadway production.

Submitted by Fernanda Rodrigues de Lima (fernanda.rlima@ufpe.br) on 2018-10-08T22:33:27Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ingrid Fernanda Rodrigues.pdf: 3674165 bytes, checksum: 4d17a2ad7e3eea550702617423eda311 (MD5)
Approved for entry into archive by Alice Araujo (alice.caraujo@ufpe.br) on 2018-11-22T17:37:00Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ingrid Fernanda Rodrigues.pdf: 3674165 bytes, checksum: 4d17a2ad7e3eea550702617423eda311 (MD5)
Made available in DSpace on 2018-11-22T17:37:00Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ingrid Fernanda Rodrigues.pdf: 3674165 bytes, checksum: 4d17a2ad7e3eea550702617423eda311 (MD5) Previous issue date: 2015-03-12
CAPES
O Romantismo brasileiro foi uma era de reconhecimento da identidade nacional e a libertação criativa de vários artistas brasileiros. Na literatura, José de Alencar e seu índio Peri, anunciavam ao mundo um selvagem brasileiro com a bravura de qualquer homem branco civilizado. Na música, o mesmo Pery, representado na ópera de Carlos Gomes tornou-se símbolo da “selvageria” e talento musical do Brasil. Essa “Selvageria” aqui representada não está ligada ao primitivo ou ao incivilizado, nos referimos a busca do homem romântico brasileiro as suas próprias raízes, a exclusão do racionalismo copista, em virtude da espontaneidade dos afetos que libertam o que há de mais verdadeiro no homem. Trazemos também análise do libreto da ópera genuinamente Brasileiro, Noite de São João, que sintetiza figuras do nosso folclore e tem a leveza do amor romântico puro e inocente. Utilizando o romance O Selvagem da ópera, de Rubem Fonseca como roteiro, traçamos um paralelo criativo entre música e literatura como artes irmãs na criação da ópera Il Guarany. E um paralelo entre o próprio Peri/Pery um com a liberdade de criação literária e o outro com a responsabilidade dos palcos ao redor do mundo. Reacendendo o mito do “selvagem brasileiro”, com exemplo na literatura modernista do insurgente Macunaíma, este trabalho é um estudo sobre a identidade nacional durante o romantismo, a recusa da cópia, a liberdade criativa e a formação do caráter do povo brasileiro através da literatura e da ópera como gênero híbrido e transcendental.
The Brazilian Romanticism was an era of recognition of national identity and the creative release of several Brazilian artists. In the literature, José de Alencar and his Indian Peri, announced to the world a Brazilian wild with the bravery of any civilized white man. In music, the same Pery, represented in the opera of Carlos Gomes became a symbol of "savagery" and musical talent of Brazil. This "Savagery" represented here is not linked to the primitive or uncivilized, refers to the pursuit of Brazilian romantic man their own roots, deleting the copyist rationalism, because of the spontaneity of affection releasing what is most true in man. Also brings analysis of genuinely Brazilian opera libretto, Noite de São João, which summarizes figures of our folklore and has the lightness of romantic pure and innocent love. Using the novel O Selvagem da ópera, of Rubem Fonseca as the script, we draw a parallel between creative music and literature as sister arts in the creation of the opera Il Guarany. And a parallel between Peri / Pery the first one with freedom of literary creation and the other with the responsibility of stages around the world. Reigniting the myth of the "Brazilian wild" with example in modernist literature of Macunaíma insurgent, this work is a study on national identity during the romanticism, the refusal of the copy, the creative freedom and the formation of the character of the Brazilian people through literature and opera as hybrid and transcendental genre.

Denna kandidatuppsats består av en översättning av sju scener ur librettot till en musikal (Dear Evan Hansen av Steven Levenson, Benj Pasek och Justin Paul) och en översättningsteoretisk kommentar. Kommentaren ger först en kort översikt över musikalgenren och behandlar sedan översättningsarbetet, från källtext till måltext. I kommentaren beskriver jag min översättningsprincip, till vilken jag har använt mig av både Johan Franzons funktionella översättningsperspektiv (Franzon, 2009) och H. S. Drinkers principer (Drinker, 1950). Jag tar även upp de utmaningar och problem som jag stött på under översättningsarbetet och förklarar hur jag har löst dessa. Jag reflekterar också över hur musikallibrettots särskilda egenskaper har påverkat de val jag gjort i min översättning.
This bachelor’s thesis consists of a translation of seven scenes from a musical libretto (Dear Evan Hansen by Steven Levenson, Benj Pasek och Justin Paul) and a commentary of this translation. The commentary first provides a brief overview of the musical genre and proceeds to describe my translation, from source text to target text. The commentary describes my translation principle, which is inspired by the functional perspective of Johan Franzon (2009) as well as the principles of H. S. Drinker (1950). I also deal with the specific challenges encountered during the translation and describe how I handled them, as well as how the specific characteristics of the musical libretto has influenced my translation.

Domenico Lalli (eigentlich: Sebastiano Biancardi, 1679-1741) wird hauptsächlich als venezianischer Librettist wahrgenommen. Sicherlich liegt dies auch an seiner gelegentlichen Zusammenarbeit mit Antonio Vivaldi. Allenfalls ist noch von seiner Tätigkeit in Neapel die Rede. Tatsächlich finden sich in Beständen verschiedener früherer Hofbibliotheken eigenhändige Textbücher von Domenico Lalli, so beispielsweise in Dresden (Mscr.Dresd.Ob.48.e, Ob.48.f, Ob.48.g, Ob.48.ga) und in München. Ausgehend von solchen Textfunden werden Lallis Beziehungen zu Höfen im Heiligen Römischen Reich Deutscher Nation in den Blick genommen.

Thesis (D.Mus. Arts)--University of North Texas, 2002.
Original thesis was accompanied by a sound cassette and 5 sound discs; not included in microfiche edition. Author's name on fiche header: Powell, Edwin Charles. Includes bibliographical references (p. 131-132).

Made available in DSpace on 2016-04-28T19:59:02Z (GMT). No. of bitstreams: 1 LCL - Margareth Ramos Teixeira Miyamoto.pdf: 338981 bytes, checksum: d93bee4f5323f9e5969e89b3e130d15e (MD5) Previous issue date: 2006-11-16
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study has the aim of investigating the opera's representation in D. Casmurro's speech, as an I mask, which unroll itself in three personas: Casmurro as an author, narrator and as a character, Bentinho. This expansion creates a correlation with the operistic tripartite structure, whose authorship is shared among the playwriter, the librettist and the musician, besides, it appears in the novel in chapters VIII - It's time , IX - The Opera and X Accepted the Theory , in which the narrator approches his life to an operistic spectacle. This operistic drama element in DC's structure, has been the target not only for the critics as we´ll see in chapter 2, but also for composers like João Gomes Jr., who had transformed DC in a theater show. The music score belongs to him, but the libretto was written by Antonio Picarollo, which could be found in the music section of Rio de janeiro's nacional library. To reach our goal and to be able of demonstrating the operistic scene built by the casmurro-author, we started with Machado de Assis' experience in the theater, trying to show to our reader how the author experienced his life that later he wrote in the novel. In chapter 2, we will recuperate the literary censorious' voice, because they analysed the opera that appears inside the novel, giving a special view of the methaphor and alegory that could be seen in DC. In chapter 3, the central focus will be the opera, its parts and relations with DC, showing how the overture, arias, intermezzos, preludes and leitmotifs are written in the narrative. Finally in chapter 4, our target will be to analyse the operistic mask inside the novel's speech through Casmurro's tripartite performance as long as a playwriter, librettist and musician
Este estudo tem por objetivo investigar a representação da ópera no discurso de D.Casmurro, como máscara de um eu , que se desdobra em três personas: a do autor-casmurro, a do narrador e a da personagem Bentinho. Tal desdobramento cria uma correlação com a estrutura tripartite do gênero operístico, cuja autoria, também se divide entre o dramaturgo, o libretista e o músico, além de surgir no romance nos capítulos VIII ( É tempo ), IX ( A Ópera ) e X ( Aceito a teoria ), nos quais o narrador aproxima sua vida de um espetáculo operístico. Esse elemento dramático-operístico na estrutura de DC tem sido alvo não só de posicionamentos críticos, como os que abordaremos no capítulo 2 desta dissertação, mas também de versões operísticas do romance para o palco, como ocorreu em 1922, quando o compositor paulista João Gomes Jr. elaborou a partitura da primeira montagem operística de DC com libreto em italiano de Antonio Piccarollo, que pode ser encontrado na secção de música da Biblioteca Nacional do Rio de Janeiro. Para atingirmos a meta de demonstrar o cenário operístico construído pelo autor-narrador Casmurro, partindo da experiência de Machado de Assis no teatro, procurando mostrar ao leitor como o autor vivenciou o que mais tarde passaria para o romance. No capítulo 2, recuperaremos a voz da crítica literária que analisou a inserção da ópera na narrativa do ponto de vista metafórico-alegórico. No capítulo 3, o foco central será a ópera, suas partes e correlações com DC, mostrando o modo como se inscrevem no romance a abertura, as árias, os intermezzos, os prelúdios e os motivos condutores da partitura. Finalmente, no capítulo 4, nos concentraremos na análise da máscara operística do discurso romanesco por meio da atuação tripartite do casmurro enquanto dramaturgo, libretista e músico

L’univers médiéval tient une place importante dans la culture poétique italienne du XVème au XVIIIème siècle. Emblèmes de cet univers, les poèmes épiques de l’Arioste et du Tasse, imités de ceux d’Homère, promeuvent les histoires les plus populaires des théâtres italiens des XVIIème et XVIIIème siècles. L’écriture du Moyen Âge dans l’opéra, entre 1690 et 1730, montre une diversité des esthétiques et des figures poétiques et dramatiques. Grâce à l’Accademia dell’Arcadia, la rénovation du livret ouvre de nouvelles perspectives à son exploitation, que développera Zeno contrairement à Metastasio. En s’appuyant sur la tragédie française, celle-ci lie étroitement art poétique et musical. L’air symbolise ce point de rencontre des affects et de leur représentation musicale. Il contribue à la célébrité de l’Artaserse (1730) de Vinci et celui de Hasse. Ces opéras précipitent le déclin des sujets médiévaux et laissent la place à un nouveau modèle lyrique
Medieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model

Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works. This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language. The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331575
Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008

Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works. This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language. The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.
Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008

This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content.
English
M.A. (English)

Thesis (Ph. D.)--Florida State University, 2005.
Advisor: Jane Piper Clendinning, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 128 pages. Includes biographical sketch. Includes bibliographical references.

The process of metaphrasis denotes the translation of a work of art from one medium into another. Opera is fundamentally an adaptive art form and contemporary opera has increasingly turned to the novel as the sophistication and range of the resources of modem music theatre have expanded. This dissertation will examine the contemporary operatic adaptation of five works of fiction. The method employed is a comparison of fictional and operatic discourse and an analysis of the translation of fictional narrative into operatic narrative. Emily Bronte's Wuthering Heights poses particular narrative problems for operatic adaption while Herman Melville's Billy Budd is characterised by its intrusive narrator and a pervasive ambiguity. Joseph Conrad's novel, Under Western Eyes, exemplifies many of the narratological complexities of modernism, whereas Patrick White's Voss, a seminal postcolonial text, offers the operatic adaptor opportunities for the transcendence of language through music. The final chapter of this study will examine Henry James's tale, liThe Aspern Papers II , which incorporates many of James's reflections on literature and the literary life. The postmodernist operatic adaptation transmutes this self-reflexive fictional work into an opera profoundly concerned with the ontology of opera itself. This study will test the thesis that opera's affinity lies with the novel rather than with drama: that the fundamental narrative mode of opera is diegetic rather than mimetic. The main theoretic thrust proposes that the orchestra in opera performs a similar function to the narrator in fiction. As fictional characters exist only through the medium of their 'text' therefore, it will be argued, operatic characters exist only as part of their 'musical' text. Fictional narrative, while frequently conveying the impression of mimesis is essentially diegetic; operatic characters appear to possess a similar autonomy to their counterparts in drama, but can be seen as analogous to those in fiction and as a function of the diegesis of operatic narrative. Operatic characters are 'created' by the orchestral-narrator and have their being only as part of this narrative act.
Thesis (Ph.D.)-University of Natal, Durban, 1994.