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1
Yang, Hyun Joo. "Which arias better represent Susanna's character : the original or replaced arias? /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11199.
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Dalla, Vecchia Francesco. "Key symbolism in Francesco Cavalli's arias." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2689.
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This study has been conceived to verify whether Francesco Cavalli (Crema, 1602--Venice, 1676), the most representative composer of seventeenth-century Venetian opera, used what is called "key symbolism." Key symbolism, or the association of one particular mood or meaning with one specific key, has been a topos in music theory literature ever since Plato and Aristotle. Many scholars maintain that early modern composers believed in the connotative power of the keys and selected them according to the "affect" they meant to convey. These assumptions are mostly based on the treatises of the time and significant examples, but key symbolism had never been investigated systematically as a poetic code.
This study on key symbolism focused on the identification of patterns in the associations of the expressive content ("affect" or "affection") and the key of Cavalli's arias. Arias represent the best place to investigate this association because they form semantic and musical units. Cavalli's twenty-seven extant operas include more than 850 arias and, thus, provide a sufficient sampling for testing the consistency of these patterns in the work of the same composer. My analysis and categorization of Cavalli's arias, which resulted in the compilation of a complete thematic catalogue, was based directly on the manuscript sources of the Contarini Collection held by the Biblioteca Nazionale Marciana in Venice, and the collection of librettos owned by the same library.
This study on Cavalli's key selection determined the following points: 1) the complete spectrum of the keys actually used by Cavalli, and how his tonal palette compares with the one proposed by contemporary theorists; 2) how practical factors, such as orchestration or the voice of the singer, influenced Cavalli's choice of the key; 3) the frequency with which the composer associated recurring topics in arias with particular tonalities; 4) whether Cavalli's usage is consistent with the connotations of the keys described in theoretical literature; and, finally, 5) whether the association of a topic with a key is systematic enough to be considered a poetical code. In the end it appears that Cavalli's choice of the key was certainly influenced but not determined by the content of the text. On the one hand, it is possible to identify some of the affective characteristics he attributed to keys; on the other hand, the link between the key (signifier) and the expressive content of the aria text (signified) cannot be codified as a system of meanings.
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Lynn, Robert. "Guidelines for transcribing coloratura opera arias for tuba, with transcriptions of three arias by Vivaldi, Gluck, and Delibes." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317923.
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Farrell, Jennifer Heather. "Ornament and the affections in the opera arias of George Frideric Handel." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2470.
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The performance of opera arias composed by George Frideric Handel in our modern day is complicated by the necessity of including improvised embellishments, which were a standard component of the eighteenth-century genre of opera seria. Furthermore, discussions concerning the concepts of historical authenticity and performance practice muddle the issue of preparing Handel's music for presentation. In recent years scholars have prepared ornamented versions of select Handel arias in consultation with eighteenth-century performance practice treatises and other contemporary materials that provide considerable insight into the purpose and execution of ornamentation in performances Handel himself oversaw. What remains relatively unexplored, however, is the relationship between eighteenth-century embellishments and the Baroque affections, or passions. The affections, or passions, were rationalized emotional states derived from the Greek and Latin doctrines of rhetoric and oratory which Baroque composers sought to evoke and express in their music. This study explores the correlation of Baroque affections with ornaments as a legitimate approach to the composition of embellishments for Handel's opera arias. The tradition of rhetoric, the conventions of late Baroque Italian opera seria as a form, and the practice of ornamentation as an integral part of these conventions are examined. The study also provides a survey of eighteenth-century literature concerning the relationship of the musical representation of affects and ornamentation. Lastly, a review of Handel's operatic career and of the plots of the Agrippina, Rinaldo and Rodelinda will provide a context for the preparation of "affective" ornamented versions of six arias from these operas. In closing, a brief discussion of the early music movement and of the debates surrounding the use of the term "authentic" in relation to historic performance practices will illuminate the relevance of the relationship between affect and ornament to twenty-first century performances.
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Shalita, Martin P. "The Operas of Ralph Vaughan Williams: An Identification and Performance Analysis of the Arias and Duet Scenes for Male Voice." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/553.
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Ralph Vaughan Williams (1872-1958) was one of the most prolific British composers of the twentieth century, yet his operas are virtually unknown in the standard operatic repertoire. Singers and teachers of singing are often challenged in finding operatic arias composed in the English language, because the standard operatic repertoire simply does not have as many works originally written in English as are found in Italian, German, or French. If there are arias from Vaughan Williams’ operas that are accessible to the young singing voice, they should not remain unknown. This study was executed in hopes of identifying for singers and teachers of singing, the arias, duets and scenes for male voice that can stand alone outside performances of the operas. The implications of this research project are that singers and teachers of singing have a newly found wealth of repertoire to utilize in performance as well as in the learning environment. Not only are these findings beautiful music from one of the twentieth century’s most prominent composers, but they are perhaps more importantly, accessible to the young and developing singer.
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Pinkall, Bryan Robert. "A technical and historical analysis for selected art songs and arias for tenor voice by George Frederic Handel, Jules Massenet, Roger Quilter, Stefano Donaudy, Gabriel Fauré, and Agustin Lara." Kansas State University, 2010. http://hdl.handle.net/2097/4091.
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Master of MusicDepartment of Music
Julie Yu
This report contains an extensive technical and historical analysis of tenor repertoire. It contains modern technical approaches to “Every Valley” and “Thou Shalt Break Them” from Messiah by George Frederic Handel. The report also reviews the history, music theory, and performance techniques of several late Romantic and Neoromantic art songs and arias from Italy, France, and England. The pieces reviewed are the following: “Ouvre tes yeux bleus” by Jules Massenet, “En fermant les yeux” from Manon by Jules Massenet, Three Pastoral Songs by Roger Quilter, Nell by Gabriel Fauré, “Quando ti rivedró” from 36 Arie De Stile Antico by Stefano Donaudy, and “O del mio amato ben” from 36 Arie De Stile Antico by Stefano Donaudy. Finally, this report reviews the popular Spanish art song Granada by Agustin Lara.
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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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Nakagawa, Stephanie Eiko. "A Canadian opera aria anthology for soprano." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62056.
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A problem that Canadian opera faces is that once works are premiered, they rarely receive any further performances. Singers must overcome numerous barriers to sing these works due to limited score accessibility and lack of aria adaptations and recordings. Even if singers feel passionately about Canadian opera, such obstacles may impede their motivation to perform Canadian repertoire.
This thesis aims to increase the awareness and accessibility of Canadian opera through the creation of a “Canadian Opera Aria Anthology for Soprano.” The anthology includes background information about the operas, composer and librettist biographies, opera synopses, and aria adaptations. In addition, performance and interpretive guides have been formed from the author’s own research in performing these works, available recordings, and from information gathered from the author’s interviews with the composers and librettists.
Hopefully the arias within this anthology will not only provide singers with useful arias for auditions, but also give them and their audience a lens through which they may better understand Canadian opera and culture. Ultimately, this research aims to increase the recognition of Canadian opera and to develop a greater interest and appreciation for these works so that one day, they may become a part of the standard operatic repertoire and reach both Canadian and international stages.Arts, Faculty of
Graduate
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Joo, Kwan Kyun. "An Anthology of Tenor Arias from Korean Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752385/.
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The first Western opera to be performed in Korea was Verdi's La Traviata on January 16, 1948, by the Joseon Opera Company. The first Korean opera, Chunhyangjeon by Jae Myung Hyun, premiered at the Korean National Theater in May 1950, just before the outbreak of the Korean War. Daejeon.go.kr reports that since that year approximately 200 Korean operas have been produced in Korea. Nevertheless, there have been consistent efforts to create and introduce Korean operas to the public. Most of them ended up being "one-off" performances with a single production. Most research on Korean opera has focused on its history, the challenges of producing new operas, or an analysis of selected Korean operas. This study equips singers with the following: pertinent historical background with the libretto, a synopsis, research regarding the composer and librettist, a character analysis, vocal and textual analysis of the selected opera arias, instruction regarding the Korean language, IPA, and a word-by-word translation of the text. I also make recommendations for tenor arias from Korean operas for singers with specific voice types.
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Janis, Christine Anne. "Opera workshop for the undergraduate: more than aria coaching /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487856076413803.
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Harinen, Armi. "Ritorna vincitor! : Interpretation of an aria in the opera Aida by Verdi." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1838.
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This examination essay is a study of the aria Ritorna vincitor! from the opera Aida by composer Giuseppe Verdi. The aim of this study is to address the vocal and interpretational questions that may arise while learning the aria. My work with this essay has included searching for information about Verdi, the opera Aida and the cultural, political and musical climate wherein the opera was born. I have also watched the opera and listened to several versions of the aria. I concentrated especially on the interpretations of Mirella Freni, Leontyne Price and Maria Callas. I also created a musical analysis of the aria. Throughout the process of writing this essay I have kept in my mind my own perspective as a singer. I have formed my study from the information I find useful in the process of approaching a new piece of music. The process of writing this essay has provided me with a lot of insight into the musical ideals and ideas behind Verdi’s work. Writing this essay made me aware of the dilemma of fulfilling the vocal expectations of the tradition and at the same time interpreting the drama convincingly. I have found a lot of useful material for a singer’s artistic development and all that I have learned will certainly come into use in my future vocal studies.
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Rosenius, Erik. "La vendetta : hämnd, opera och dess tolkningsmöjligheter." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1611.
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Hiramoto, Stephen Anthony. "Soloistic Writing for the Oboe in the Arias of Handel's Operas, with Three Recitals of Selected Works by Marcello, Strauss, Ravel, Bach, Handel, Saint-Saens and Others." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277853/.
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Although long-neglected, the topic of Handel's operatic oeuvre has in recent years gained new currency. Of interest to oboists is the great amount of soloistic writing for the oboe in the arias of his operas which takes the form of obbligato solos. From this body of works approximately twenty operas contain soloistic writing for the oboe in conjunction with the voice. The rationale for the investigation of this topic is two-fold: first, to make oboists aware of the availability of this body of literature, and second, to explore the manner and extent to which Handel used the oboe as an obbligato instrument. Topics covered include the instrumental make-up of Handel's orchestra and a brief history of the obbligato aria beginning with the early trumpet arias. An examination of Handel's compositional technique precedes a detailed analysis of six examples of varying style. The conclusion considers the aesthetics of performing these pieces out of context in light of historical practice and perception.
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Ayres, Michelle Elizabeth. "Crossover Genres, Syncretic Form| Understanding Mozart's Concert Aria "Ch'io mi scordi di te," K. 505, as a Link between Piano Concerto and Opera." Thesis, The University of North Carolina at Greensboro, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977683.
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Mozart’s concert aria Ch’io mi scordi di te K. 505 bridges the genres of piano concerto and opera seria aria by combining elements of sonata rondo, sonata concerto, and ritornello. Mozart’s experimentation with Classical form emerging in the late eighteenth-century is characterized by unique transitions and retransitions, surprising modulations to secondary keys, and polarization of tonic and dominant tonalities. K. 505, a two-tempo rondo for soprano with piano obbligato, is the only one of its type in Mozart’s oeuvre and shares many of the same ritornello form and dialogue between the soloist and the orchestra found in Mozart’s piano concerti. Composed as a duet for himself, an accomplished pianist, and his close friend Nancy Storace, a highly regarded opera singer, as part of her farewell concert in Vienna, K. 505 highlights their virtuosic abilities celebrating artistic kinship.
After establishing the historic contexts for its composition, this study applies the theories and models developed by James Hepokoski and Warren Darcy (2006), Martha Feldman and Rosa Cafiero (1993), John Irving (2003), and Simon P. Keefe (2001) in order to analyze K. 505 as a work in a composite genre utilizing compositional techniques later associated with more conventional applications of sonata-form. K. 505 is one of several compositions rooted in Mozart’s tonally adventurous Idomeneo (1781/1786). An analytical comparison of K. 505 with related works—the concert aria Non piu tutto ascoltai…non temer amato bene K. 490 for soprano and violin obbligato, a replacement aria in the revised Idomeneo (1786) and the Viennese piano concerto no. 25 in C Major K. 503 (1786) demonstrate how Mozart’s syncretic genres played a part in the creation and expansion of the maturing conventions of sonata-form in the late eighteenth-century.
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Pollard, Louis M. (Louis Melvin). "A transcription of three arias from The barber of Seville, by Gioacchino Rossini, for solo euphonium and large brass ensemble, with three recitals of selected works by E. Bozza, A. Capuzzi, J. Koetsier, A. Ponchielli, and others." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935604/.
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Document accompanying a transcription for solo euphonium and large brass ensemble of three arias, "Ecco ridente in cielo," "Largo al factotum," and "A un dottor della mia sorte," from Gioacchino Rossini's opera The Barber of Seville. Includes overviews of the arias' texts and contexts, orchestrational techniques in the transcriptions, the history and definition of the term "euphonium," and the history of the large brass ensemble in the United States.
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Guachalla, Gutierrez Adrian Francisco. "The role of cultural flagships in the perception and experience of urban areas for tourism and culture : case study, The Royal Opera House in Covent Garden." Thesis, University of Westminster, 2011. https://westminsterresearch.westminster.ac.uk/item/8zy4q/the-role-of-cultural-flagships-in-the-perception-and-experience-of-urban-areas-for-tourism-and-culture-case-study-the-royal-opera-house-in-covent-garden.
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This research aims to explore how a cultural flagship influences the cultural tourist’s perception and experience of a well established urban area for tourism and culture, taking the Royal Opera House in Covent Garden as a case study. Covent Garden, as an important part of London’s tourist portfolio is a case study of interest because of its wide array of land use that makes it a popular area for tourism and cultural consumption, with distinctive architecture, heritage and a wide range of attractions and leisure opportunities. The Royal Opera House, established at the core of the area, stands as a world renowned provider of high culture and has a rich history and heritage of its own, yet it evolved over time parallel to the area, to the extent that Covent Garden’s name is often used to refer to either the precinct or the flagship. It was recently subjected to a redevelopment scheme aimed towards providing the building with a fresh architectural front and added facilities. This raises many questions regarding the role that an old cultural flagship made new plays in the well established tourism precinct’s sense of place and draw towards the cultural tourist. To address these matters, a social constructivist approach has being adopted, through which the tourist’s mechanisms of interpreting their surroundings were explored and the nature of their cultural experiences in Covent Garden understood. 306 semi-structured interviews were conducted throughout six different locations in the area and inside the flagship building aiming to explore the tourist’s motivation to visit London and Covent Garden, the nature of their experiences and their perception of both the area and the flagship, and how the latter exerts an influence of their perception and experience of place. The evidence analysis has revealed that the Royal Opera House does not have a strong influence on the tourist’s perception and experience of Covent Garden, which is seen as a place for shopping and relaxation rather than high culture despite the efforts made to provide it with a more attractive architectural front and its policies for social inclusion. However, other visitors perceive it as a pinnacle of high culture depending on their level of appreciation for opera and ballet. Furthermore, the notion of cultural distance (McKercher, 2002) exerts an influence in these perceptions as the area’s visitors tend to relate their surroundings to what they are familiar and unfamiliar with. The visitors’ age also plays an important role in their perception and experience of place as the data collected revealed that the older age groups tend to have a more inquisitive attitude in regards to their tourist experiences, which can also be understood as deeper. On the other hand, younger tourists are more likely to focus their visit on leisure and entertainment. Regardless of this, the presence and behaviour of other visitors in the area also prove to exert an impact on the tourist’s perception and experience of place. They tend to engage in communal activities such as watching street entertainment and provide each other with behavioural cues that manifest themselves in a slower pace of movement and a relaxed attitude when experiencing the precinct. This is also related to the area’s built environment and urban characteristics as the streets are pedestrianised, allowing for visitors to roam and explore their surroundings. However, Covent Garden can be seen as a multifaceted precinct as the area’s different locations vary in terms of their size and scale as well as the leisure and cultural opportunities available. The area’s Piazza is an open space characterised by the presence of the market, street entertainment and outdoor eating and drinking facilities that grant it with a continental and cosmopolitan ambience. Other locations such as Seven Dials provide the visitors with other types of experiences given the smaller scale of its streets. The Royal Opera House is perceived as a valuable cultural asset for the country and its name is associated with elitism, exclusivity and monumental architecture. However, the building’s physical presence in the area does not provide the same visual stimuli that other stand alone flagship developments such as the Sydney Opera House provide for example. Therefore, its importance and role in the tourist’s perception and experience of place depends on the individual’s awareness of the building and personal interest in its cultural products.
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Wallin, Spencer. "Suona la tromba: A Discussion of the Trumpet Aria through the Works of Giovanni Legrenzi and Carlo Pallavicino." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248428/.
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The early trumpet arias by Giovanni Legrenzi and Carlo Pallavicino are important works in the trumpet repertoire that have remained relatively unpublished and unstudied. This dissertation will look at the history of the trumpet in opera, discuss the development of the trumpet aria, and provide examples of how to approach the performance of the trumpet aria. Through study and performance of the early trumpet arias by Legrenzi and Pallavicino, trumpet soloists will be able to learn the necessary techniques to collaborate with singers and perform all trumpet arias.
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Morris, Brad Lawson. "A Countertenor's Reference Guide to Operatic Repertoire." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554918197976462.
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Valen?a, Josaphar Silva. "Uma an?lise cr?tica sobre o ensino de ?rea de figuras planas na educa??o de jovens e adultos: um estudo localizado no munic?pio de Angra dos Reis." Universidade Federal Rural do Rio de Janeiro, 2016. https://tede.ufrrj.br/jspui/handle/jspui/1657.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
This work is the result of a qualitative and quantitative analysis of the problems encountered in the teaching of plane figures in young and adult education and, even as a present activity in day-to-day lives, it is still a problem. This theme was chosen because of the student?s desires to learn that content, enabling to search where is the origin of the various difficulties encountered by them in calculating areas of plane figures and to get applied in their daily lives. The choice of this teaching modality comes from the challenge of how to work this content with a very heterogeneous group, both in age and in the motivation that led them to attend the classrooms of young and adult education. This fact causes a significant change in the methodology used by the professor in relation to the same applied in regular education. To understand all this process it is necessary to know a little of young and adult education in Brazil, its normative aspects and the historical importance of knowing how to calculate areas of flat figures. Through a questionnaire, we identified the young and adult education professor's profile, how this type of education is administered by the government and how professionals deal with such different student profiles. With this information, together with the analyzes of the questions answered by the students, we conclude that the difficulty of assigning correctly the units of area and length measurements is due to the difficulty of the student to relate the mathematical content learned in school to their daily lives. In some of the issues applied to students we had to allow the use of the calculator due to the difficulty that students have to perform at least one of the four arithmetic operations
Esse trabalho ? o resultado de uma an?lise qualitativa e quantitativa sobre os problemas encontrados no ensino de ?rea de figuras planas na EJA e que, mesmo sendo uma atividade presente no dia-a-dia deles, ainda ? um problema. Esse tema foi escolhido devido aos anseios dos alunos em aprender esse conte?do, possibilitando assim, pesquisar onde est? a origem das diversas dificuldades encontradas por eles em calcular ?reas de figuras planas e conseguirem aplicar em seus cotidianos. A escolha dessa modalidade de ensino surge do desafio de como trabalhar esse conte?do com um grupo muito heterog?neo, tanto na faixa et?ria quanto na motiva??o que os levaram a frequentar as salas de aula da EJA. Este fato provoca uma mudan?a significativa na metodologia aplicada pelo professor em rela??o ? mesma metodologia aplicada no ensino regular. Para entender todo esse processo faz-se necess?rio conhecer um pouco da EJA no Brasil, seus aspectos normativos e a import?ncia hist?rica de saber calcular ?reas de figuras planas. Por meio de um question?rio, identificamos o perfil do professor da EJA, como essa modalidade de ensino ? administrada pelo poder p?blico e como os profissionais lidam com perfis t?o diferentes de alunos. De posse dessas informa??es, somadas as an?lises das quest?es respondidas pelos alunos, conclu?mos que a dificuldade de atribuir de forma correta as unidades de medidas de ?rea e de comprimento devem-se ? dificuldade do aluno em relacionar o conte?do matem?tico aprendido na escola ao seu cotidiano. Em algumas das quest?es aplicadas aos alunos tivemos que permitir o uso da calculadora devido ? dificuldade que os alunos possuem em realizar pelo menos uma das quatro opera??es da aritm?tica.
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Mihelcic, Sonja. "Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues." Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20012/mihelcic%5Fsonja/index.htm.
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Castro-Ramirez, Luis Gustavo. "Doctoral thesis recital (opera coaching)." Thesis, 2012. http://hdl.handle.net/2152/23574.
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Chuang, Wei-Ling, and 莊尉伶. "The Analysis and Interpretation of Four Arias from Puccini’s Opera." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/e3qc9n.
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碩士輔仁大學
音樂研究所
101
Puccini was one of the trend-leading opera composers in the late 19th century. Inspired by Verdi’s Aida（1871）, Puccini started his dream job as an opera composer. His first work Le Villi （1885） was brought to stage owing to the recommendation from senior composers. Puccini’s Manon Lescaut（1893） was a hit, and so were his following three works, La Bohème（1896）、Madama Butterfly（1900）, and Tosca （1904）. These masterpieces made him one of internationally-famed opera composers. To the time of his last unfinished work, Turandot（1926）, Puccini’s reputation remained highly regarded in the operatic stage. Seven out of Puccini’s twelve operas are named after female characters; therefore it can be assumed that females play important roles in his life. The vivid descriptions of these characters’ are in depth. Besides, the vocal melodies in his works are splendid, sentimental, and sensational. This article provides the background information of Puccini’s learning and professional years, and then chronicles his twelve opera works. In addition, four arias Se come voi piccina（Le Villi）、In quelle trine morbide（Manon Lescaut）、Donde lieta usci （La Bohème）and Signore, ascolta（Turandot）are chosen to elaborate, along with musical analysis. Furthermore, the writer’s personal interpretation and performer’s guide to these four arias are provided as a reference for further researches.
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Pu, Hsiao-tzu, and 蒲孝慈. "the research is the four Arias of the opera《Madama Butterfly》." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/77721100025305753572.
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碩士東吳大學
音樂學系
96
The topic of this research is the four Arias of the opera 《Madama Butterfly》written by Giacomo Puccini. Before singing, a singer must have some understanding to the background of the composer’s creation, the style of his music, the structure of the music and ways of applying skills. To further understand this Aria, ones have to be aware of the impact of realism on operas in 19th century. The life of composer Giacomo Puccini and his composing stytle also need to be understood in studying his music the content of the opera《Madama Butterfly》 and musical characteristics of Arias. From the basic elements of the musical structures of the singing style, one can compare the differences among singing interpretation to this Aria by different singers: Maria Callas、Mirella Freni and Renata Scotto. And in turn one comes to know how to better express composer artistical styles.
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Hsu, Hsiao Ching, and 徐筱晴. "The Analysis and Interpretation of Three Soprano Opera Arias with Waltz Material." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/05530660458520600940.
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碩士輔仁大學
音樂研究所
101
Abstract In 18th century, Waltz was flourishing in Vienna, including nobility to commoners, no matter whom, were all crazy for it, which waltz form were also becoming the necessary tradition in Operetta, nowadays, it is still popular and enduring. This paper in order to the further research and analysis to three opera soprano arias with Waltz materials, respectively: Giacomo Meyerbeer’s aria “Ombre légère”, from opera Dinorah, Gian Carlo Menotti’s aria “Monica’s Waltz”, from opera The Medium, and Leonard Bernstein’s aria “Glitter and be gay”, from opera Candide. The author will first to understand the origins and music form of waltz, then through the three different style waltz aria works from composer life and background, creation background of opera, opera story synopsis, lyric and music analysis, music structure and singing technique to combine the interpretation ways. Keywords: Waltz Meyerbeer Menotti Bernstein
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Pan, Shiu-Chen, and 潘秀琛. "The Analysis and Interpretation of Susanna Arias from Opera“Le nozze di Figaro”by Mozart." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/57458209392757487681.
Full textAbstract:
碩士台南應用科技大學
音樂研究所
100
This interpretation of the repoet explores Mozart''s comic opera ‘Le Nozze di Figaro’, in addition to broadly trace the achievements of the Italian comic opera out of Mozart''s comic opera, should permit Mozart opera in the form of performance statement of the reality of life. In two arias “Venite inginocchiatevi” and “Giunse alfin il momento” from the music segment, time signature, tempo, tonality to distinguish her different moods. And music design, see their views on human nature and clever the way into the music. Mozart selects Beaumarchais’s drama, the challenge was the scale of society, trying to help him avoid hindered by the dramatist da Ponte, see their no afraid of hard dauntless spirit, to see Mozart as his ideal courage to face challenges.
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TZUYIN-LIN and 林姿吟. "The Analysis of Xier's arias in Chinese opera <>---As examples included in recital." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/43320622104723353038.
Full textAbstract:
碩士中國文化大學
音樂研究所
98
Abstract This thesis is divided into six chapters. The first Chapter is the introduction, which describes of the motivation, background, methodology and literature review of this thesis. In the second Chapter, the summary of the development of Chinese Opera is presented and how the development has influenced the creation of the opera “The White Haired Lady” is discussed. In the third Chapter, the Chinese opera “The White Haired Lady” is introduced, including its historical background, plot and characters. The study of singing techniques employed in Chinese Opera “The White Haired Lady” is presented in Chapter Four, which probes into how the singing style and vocal technique transferred from the western vocal technique can achieve healthy singing and create an appropriate interpretation of the character “Xier.” Chapter Five is the key point of this thesis, which is the analysis and interpretation of “Xier’s” arias. It includes the development of the plot, Xier’s character and vocal interpretation. Xier sings five arias in this opera: ” North Wind Blows,” “Past Midnight,” “Blades Kill, Axes Hack,” “I must survive” and “Hatred High as Mountain, Revenge Deep as Ocean.” Chapter Six concludes the thesis.
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Hung, Chih-Hua, and 洪智華. "The Analysis and Vocal Interpretation of Five Arias by Sesto from Handel's Opera“Giulio Cesare”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/56014595167536065449.
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Klingerová, Magda. "Nitteti (1765), pražská opera Domenica Fischiettiho." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436602.
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The theme of the thesis is the serious opera Nitteti, which was composed in 1765 by the Italian composer Domenico Fischietti at the end of his several-years-long residence in Prague. The thesis aims at introducing Fischietti's serious opera style, which has so far been neglected and mostly overshadowed by his comic operas. This work focuses on exploring and elaborating on the topic of Prague Italian opera of that era through the study of the opera Nitteti. At the same time, the opera Nitteti is compared with a later version of the same title composed for Naples by Fischietti in 1775. One of the foundations for examining the opera is the context of the theater production (especially performing singers) in both opera centers. The composer's treatment of the classical libretto by Pietro Metastasio in terms of music dramaturgy and the transformation of Fischietti's compositional style is also subject to comparison scrutiny in both versions. Keywords Domenico Fischietti, Nitteti, opera seria, Pietro Metastasio, 18th century, arias analysis
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Lee, Shu-Yuan, and 李淑媛. "The Study on the Vocal of Agathe and Ännchen’s four Arias from Weber’s Opera “Der Freischütz”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/30317305392257136106.
Full textAbstract:
碩士台南科技大學
音樂研究所
98
In early 19th century, due to Der Freischütz, an opera work, composed by German musician, Carl Maria von Weber (1786~1826）was performed, Singspiel officially became the terminologies of all German operas. When even Italian operas and French operas were widespread popular with audience, Singspiel took a place in Europe. The study mainly focuses on the discussion of the characters in Der Freischütz, Agathe and Ännchen whose performance in interpretation of representation. In Der Freischütz, both of them are young girls, they, however, possess different dispositions, and their presentations of singing are also dissimilar. Agathe is described being gentle and graceful. The execution of timbre about her characters must be tender with restrain. It is suitable for a lyric soprano to interpret; nevertheless, Ännchen is defined being cute and outgoing, the timbre to her figures is inquired clean and resonant, thus, it is properly for a coloratura or a light lyric soprano. In addition, in order to standing out the features of Ännchen, the performer needs to act in singing. Equally, the presenter of Agathe also acts in singing matching the character. Neither are the interpretive skills of two characters discovered the similarities. When presenting the features of Agathe, the way of interpretation about her must be disapped. Ännchen primarily must be interpreted with brightly singing.
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Chen, Cheng-Min, and 陳政敏. "Giacomo Puccini’s opera《Manon Lescaut》and《Tosca》researchAs the arias of the actresses as an example." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/g3fn4u.
Full textAbstract:
碩士國立臺北藝術大學
音樂系碩士在職專班音樂專業師資教育組
101
Puccini (Giacomo Puccini, 1858-1924) is considered one of the most important Italian opera composers of the late-19th-century. Puccini developed his work in the “realistic “style successfully, and then he became one of the leading exponents later. The purpose of this study is to research on Puccini’s musical style of opera from his background. Also, to analyze these two outstanding operas: “Tosca” (Tosca, 1900), “Manon Lescaut” (Manon Lescaut, 1893) and treated the famous aria of the two divas from the operas. In this essay, it will be divided into different sections, including: introduction, it is about the motivation and range of this research of the operas of Giacomo Puccini; background information on the composer and his musical language, such as the musical style and how he influences the Italian operas; introduction about his operas: “Tosca” and “Manon Lescaut”, as the original author''s biography and the style of these two operas; the characters introduction and the plot of plays about these two Operas; an analysis and the interpretation with different arias performance by each divas of ” Tosca” and” Manon Lescaut”. Through the research of “Tosca” and “Manon Lescaut”, it hopes to deeply realize his composition skills, and help the performers to interpret these two Operas in the conclusion.
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Chao, Wan-Leng, and 趙宛稜. "The Analysis and Vocal Interpretation of three Cleopatra Arias from Handel’s Opera “Giulio Cesare in Egitto”." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/88517382826428302348.
Full textAbstract:
碩士台南應用科技大學
音樂研究所
99
The purpose of this study focused on Handel’s opera‘Giulio Cesare in Egitto, 1724＇which was included three arias, there are “V’adoro, pupille”, “Se pietà di me non senti” and “Piangerò la sorte mia”. By analysis of these arias, the characters of phrase paragraph could be combined with promoting repeated lyrics, abundant changes in tonality and timbre, and emphasizing changes of velocity and strength. Therefore, A’ paragraph of aria da capo use vocal ornament such as appoggiatura and acciaccatura etc. to show various changes. In arias, they use disjunct motion properly to perform graceful melody. Recently, Handel’s opera was renewed attention and aroused a lot of audio data. It can be proved that Handel is not only an oratorio composer but also a more and more popular opera composer.
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Shih-Chao, Lee, and 李世釗. "An Interpretational Study Of Selections From Art Songs And Opera Arias With Reference To The Tenor Repertoire." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/75210566519072623374.
Full textAbstract:
碩士中國文化大學
音樂學系碩士班西洋音樂組
100
Abstract This thesis consists of five chapters: The first chapter, the foreword cover this essay’s objective and motive of research, to method and area of my analysis. The second chapter is an introduction of different spectrum of such role, the historical backgrounds, and the methods of practicing. In the third chapter is an analysis of tenor’s art songs repertoire Schumann’s Dichterliebe op. 48 and translation there of. To explore a tenor’s role in opera in the fourth section, I utilize G. Verdi’s “ De’ miei bollenti spiriti ” from La Traviata and“La donna è mobile”from Rigoletto, with a study of the composer and the playwright’s biography and backgrounds. In addition, a translated interpretation analysis and the tenor’s role characteristics herein portrayed in the before mentioned masterworks will be discussed. Lastly, the fifth section is bring down the curtain and then conclude the thesis. Keyword: Tenor、Art song、Opera aria
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蔡宜珊. "The Study and Performance Interpretation of Mria Arias from Opera《La Fille du Régiment》by Gaetano Donizetti." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/88084934895963725831.
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Chang, Tan-Feng, and 張丹楓. "An Analysis and Interpretation of Contessa Arias from Opera “Le nozze di Figaro” by W. A. Mozart." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/75344385715069266422.
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碩士國立高雄師範大學
音樂學系
101
Wolfgang Amadeus Mozart (1756-1791), one of the most important classical musician, composer and conductor in the eighteenth-century, was born in Salzburg, Austria. Throughout his life, Mozart's had composed twenty-two operas. One of the most popular work is Opera buffa "Le Nozze di Figaro", which was finished by Mozart and Lorenzo Da Ponte (1749-1838) in Vienna. The focus of this research is to examine and analyze the Countess's two arias of "Le Nozze di Figaro". This thesis consists of five chapters. The first chapter shows the motivation, purpose, and the framework of this research. The second chapter investigates the background and characteristics of the original French comedy author Pierre-Augustin Caron de Beaumarchais (1732-1799) in contemporary of Enlightenment drama in the seventeenth century and extends to the background and features of the original Pierre-Augustin Caron de Beaumarchais as well as the outline of the plot "Le Nozze di Figaro". The third chapter introduces Mozart's life and musical styles. The fourth chapter analyzes the countess and interpretation of the two arias
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SU, SHIH-HAN, and 蘇詩涵. "An Analysis and Vocal Interpretation of four Cleopatra Arias from the Opera Giulio Cesare by Georg Friedrich Händel." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/mwv89d.
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LEE, CHEM-XING, and 李晨興. "The Analysis and Interpretation Study of Selections from Opera Arias by Giacomo Puccini with Reference to Solo Recital Repertoire." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/556h7w.
Full textAbstract:
碩士中國文化大學
音樂學系
104
Puccini was born in 1858 in Italy and died in 1924 at the age of 66. After the romantic period, realism began. Realism is from real life, therefore the themes are closer to the community level, and Puccini was affected by it. The realistic approach is such, that each character has its debut in sharp contrast to one another, and smooth melody that accompanies the colorful orchestra, so that the content of the story and the characters would blend, resulting in a brilliant combination. Puccini's opera tends to be romantic and realistic; harmonious music was created for every scene; the dramatic tension that captures the audience's mind makes Puccini's opera timeless. In this article: First, using the background to understand the style and development. Second, using the Synopsis to understand the story development and character characteristics. Third, having no language barrier, and through lyrics translation, to understand every word and every meaning. Lastly, integrating the above discussion and studying it in detail. Keywords: Puccini, opera, realism
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Chia, Wang Chia, and 王嘉嘉. "The Study and Interpretation of a Selection of Italian Romantic Opera Arias with Reference to the Light Lyric Soprano Repertoire." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/25304670913206786121.
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碩士中國文化大學
音樂研究所
96
Abstract The present study possesses six chapters. The first chapter is to describe the motivation, purpose, material and method of the thesis. The second chapter discusses how to know the Opera and Opera basic organization. The third chapter discusses the Italy Opera’s history from middle ages century to romantic. The fourth chapter discusses the characteristics of a lyric soprano, including vocal discernment and classification of compositions for lyric soprano , and the role of lyric soprano in an Opera. The fifth chapter discusses vocal training for a lyric soprano, including breathing, phonation, and skills of vocalism, and solution method. The last chapter discusses the presentation of Opera highlights that will be performed in my recital, including Aria of 《Lucia di Lammermoor》 and 《La fille du regiment》 by G.Donizetti (1797 -1848): 」 Regnava nel silenzio」, 」 Ah!Ciascun lo dice」.Aria of 《La Sonnambula》and 《I puritani》 by Vincezo Bellini， (1801-1835)」 Ah!non credea mirarti」 ,」Son vergin vezzosa」. Aria of 《Rigoletto》and 《Falstaff》 by Giuseppe Verdi(1813-1901): 」 Caro nome」, 」 Sul fil d'un soffio etesio」.
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"The Third of March (2018), an Opera by Lu Pei: A Performer’s Guide to Selected Arias with the Composer’s Perspectives." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57136.
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abstract: Lu Pei (b. 1956) is a celebrated Chinese American composer who currently serves as a composition professor at the Shanghai Conservatory of Music. His work is known for its varied use of Chinese folk tunes. He lived in the United States a long time, which cultivated within him abundant Western musical influences. The sound of multi-ethnic elements is greatly reflected in his own music. Writing an opera has always been his ultimate dream as a composer, and after many years of work, the opera The Third of March was completed and premiered in 2018 in Guangxi. It has received wide acclaim and has been a favorite of younger listeners. Lu Pei aims to bring young people to modern music and the Chinese opera, not only using traditional Chinese musical elements, but also adopts “reinvented” modern Western musical styles, giving a new identity to the Chinese opera is the main foci of The Third of March.
To prepare for my performer’s guide to The Third of March, I will discuss Lu Pei’s inspirations from the Guangxi Song Fairs, and the music and culture of the Zhuang people surrounding the date in the Chinese lunar calendar, March Third. For Westerners unfamiliar with Lu Pei’s music, I will briefly introduce the compositional blending of Western and Chinese musical styles with a section about Chinese composers active in the United States, Chen Yi (b. 1953), and Tan Dun (b. 1957). I will also include a brief outline of the history of Chinese opera development, and Lu Pei’s compositional concepts and the background of the opera The Third of March will be discussed.
My performer’s guide, the primary focus of this project, will begin by stressing Lu Pei’s adoption of different Chinese folk songs and Western compositional elements. These techniques clearly gave the piece a unique stylistic identity. I will give a brief overview of the Chinese language diction in International Phonetic Alphabet. Finally, the qualities of the main arias in the opera, and some of the Chinese operatic techniques for singers, and their special effects, will be explored.Dissertation/Thesis
Doctoral Dissertation Music 2020
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CHANG, WEI-TZU, and 張蔚慈. "The Musical and Interpretationl Analysis of Sesto and Annio’s Arias from the Opera “La clemenza di Tito” by Wolfgang Amadeus Mozart." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/j789xq.
Full textAbstract:
碩士實踐大學
音樂學系碩士班
106
In terms of the composer’s own sequence of creation, La clemenza di Tito (1791) is the last opera composed by Wolfgang Amadeus Mozart (1756-1791). In this work, the voice range of two male characters—Sesto and Annio—was written in the range for mezzo sopranos. When the opera premiered in 1791 in Prague, the character Sesto was played by a mezzo soprano castrato singer, and the character Annio was disguised by a female singer. Until today, these two characters are often played by mezzo sopranos. Starting with an introduction on the background of this repertoire and an analysis on arias written for these two characters, this thesis intends to compare the similarity and differences in these two roles, with an attempt to broaden a further understanding of how male characters are designed to be performed by female singers.
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Kuo, Chun-Pei, and 郭鈞蓓. "A Study and Interpretation of Madame White Snake’s Arias from Opera Xu-Xian and Madame White Snake by Kuo, Chiu-Yuan." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/71029714103811312738.
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LIN, YU-SHIOU, and 林玉琇. "The Musical Analyses and Interpretations of Three Verdi’s Opera Arias in the Prayer Scenes from La Forza del Destino, Aida, and Otello." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/5h7d3w.
Full textAbstract:
碩士輔仁大學
音樂學系
104
Giuseppe Verdi, 1813–1901, was a naturalistic Italian composer and also an excellent singing coach. He used simple and lyric vocal lines, supported by orchestras and textured with musical motives, to achieve the incredible dramatic powers that had never been heard before his time. His leading soprano characters have to be equipped with ability to express extreme emotions while maintains singing in the bel canto tradition. Not only songs but also scenic expressions were emphasized. This dissertation will discuss on Verdi’s soprano prayer scenes: “Son giunta!..., Madre, pietosa Vergine,…” from La Forza del Destino（Act II, scene 5）, “Ritorna vincitor!”from Aida（Act I, scene 1）, and “Ave Maria” from Otello（Act IV, scene 2）. The life and works of Verdi will be introduced briefly in Chapter 2, and then the history, development of Italian operas will be in the Chapter 3. The compositional style and opera revolution of Verdi will be described in the Chapter 4. The outlines and compositional backgrounds of these three operas will be placed in the chapter 5. Finally, the music analyses based on forms, phrases, lyrics, harmony, orchestration, and vocal lines will be dicussed in the chapter 6. By means of musical analysis and interpretation, the performers will approach the Verdian ideal soprano helpfully.
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Chen, Ying-Fang, and 陳盈方. "A Research of the Compositional Analysis and Performance Practice of The Bel Canto Opera─According to Gioachino Rossisi, Gaetano Donezetti and Vincenzo Bellini’s Arias." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/85192478560618138536.
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LEE, CHI-HSUN, and 李奇勳. "The Interpretation and Analysis of the Arias〈Che gelida manina〉,〈Recondita armonia〉and〈E lucevan le stelle〉from the Opera La Bohème and Tosca by Giacomo Puccini." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/n687an.
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碩士國立臺北藝術大學
音樂學系碩士在職專班
105
This thesis focuses on the opera “La Bohème” (1896) and “Tosca”(1900) by Giacomo Puccini (1858-1924). Explores in the context of Realism, from the composer and the playwright life creation to the opera content, with the two actors in the play of the three arias to make music interpretation and analysis. In this thesis, it will be divided into different sections, including: introduction and five chapters and the conclusion. The first chapter is the introduction, which includes the research motives and the scope of this thesis. The second chapter introduces Puccini’s life and his musical style. The third chapter focuses on two opera playwrights’ life and the opera “La Bohème” and “Tosca”. The fourth chapter introduces social background of Italian Verismo opera development, composers and their operas. The fifth and sixth chapter introduces the composing background and plots of the “La Bohème” and “Tosca”, presents the musical analysis and singing interpretation of three arias from the opera. Through the research of “La Bohème” and “Tosca”, it hopes to deeply help the performers to interpret these two opera characters in the conclusion.
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蘇大智. "A Study of Two Arias “Werther! Qui m’aurait dit ? / Ces lettres”and “Pourquoi me réveiller, ô souffle du printemps?”from Jules Massenet’s Opera Werther, Act III from the Point of View of Collaborative Piano." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/j6geb4.
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碩士國立臺南藝術大學
鋼琴合作藝術研究所
105
Abstract Paris was one of the most important cultural city in France from the late 19th to early 20th century. Numerous performances had been held in Opéra de Ganier as well as other opera houses. They were greatly welcomed and opera appreciation became fashionable among operatic fans. One of the most popular opera composers, Jules Émile Frédéric Massenet (1842-1912), composed several masterpieces, including “Werther”(1892) , “Manon” (1884) and “Thais”(1894). “Werther” is the tenth opera written by Massenet, and it was based on Die Leiden des jungen Werther, which was composed by the German writer, Johann Wolfgang von Goethe(1749-1832). “Werther” is divided into four acts. It is themed with female and love, in conjunction with Massenet’s well known romantic compositional style. This opera reveals Werther’s sorrows to a whole new level. In this paper, I will thoroughly discuss two important arias in this opera, from the perspective of the collaborative pianist and analyze how to interpret the orchestra sound and accompany the singer. The content consists of six chapters. The first chapter is the motivation, method and scope of the research. The second chapter and third chapter will discusses Goethe and Massenet's background and musical style. The fourth chapter will find the differences between the original “Die Leiden des jungen Werther“ and the opera “Werther” literary. The fifth chapter will explore the combination of poetry and music. The sixth chapter will observe the instrumentation and provide the ways of imitating the orchestral sound for the pianist. The final is the conclusion. Keywords: Massenet, Opera, Werther, Aria
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Poriss, Hilary Rachel. "Artistic license : aria interpolation and the Italian operatic world, 1815-1850 /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9990584.
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Ni, Shih i., and 石依霓. "Discover about two soprano’s Aria of Weber’s opera [Der Freischutz]." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/19487163621573173314.
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碩士東吳大學
音樂學系
92
This article is going to discover about two soprano’s Aria of Weber’s opera [Der Freischutz], including the way how Weber composed, characterize of German singsipel, analyzed the original idea of [Der Freischutz] and two soprano parts, the structure of two soprano’s Aria and how to perform them. Secondly, this report tried to analyze the effect when Weber was composed [Der Freischutz] from Hoffmann’s opera [Undine]. I also discovered the style in the beginning of romantic period from Germanic lecture’s point of view while choose the script. After the study and research above I hope to conclude that what kind of style is Weber’s opera and give performers the correct performing skill or point while they sing. Program From Dvorak, A. Op.83 No.1-3 1、Wird doch die Liebe nie zu frohem Ziel jemals uns Leiten 2、Tot ist’s in mancher menschenbrust 3、Ich schleich’ um jenes Haus herum From opera《Der Freischutz》「Kommt ein schlanker Bursch gegangen 4、Kommt ein schlanker Bursch gegangen From Faure, G. Op. 23 No. 1、3 5、Lex Berceaux 6、Le Secret 7、Col piacer della mia fede-------------------------------------------------------Vivaldi, A. 8、Ben conosco a poco a poco---------------------------------------------------- Vivaldi, A. From opera《I Puritani》「Son vergin vezzosa------------------------------------Bellini, B. 9、Son vergin vezzosa From”Ⅵ Original Canzonettas”Ⅰ, No.1、4、6----------------------------------Haydn, J. 10、The Mermaids Song 11、She Never Told Her Love 12、Pleasing Pains Floyd, C. From “Susannah” 13、The Trees On The Mountains 14、La Capine----------Benedict, J. 15 故鄉的小路--------崔三明曲 黃相柏詞 16 輕笑-------------黃友棣曲 徐訏 詞 17 趕牲靈-----------陜西民歌
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Wu, Pei-Hsuan, and 吳佩璇. "The Research on Pei-kuan Opera Aria of Yu-Chiao Pan." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/53921024232236360902.
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Chen, Meng-Ching, and 陳孟卿. "The comparative study between Taiwanese opera “seven-word pattern” and Western opera- the case study from Verdi's Aria “Ah, fors'è lui”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91777796299818917319.
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碩士國立臺北教育大學
音樂學系碩士班
99
Abstract Based on my advisor Dr. Huang Shih-Hsin's instruction, this research was re-titled as “The comparative study between Taiwanese Opera seven-word pattern and Western opera---the case study from Verdi's Aria Ah, fors'è lui”---distinguishable from my original analysis of Verdi's Ah, fors'è lui che l’anima. Owing to my experiences both in teaching music and expanding the native art of Taiwanese opera, Dr. Huang advised me to find out the similarities and differences between the two songs, hoping the art treasure of Taiwanese opera, can brought to greater of heater height of development. The realm of this study is limited within Ah, fors'è lui and seven-word pattern and some issues related to both of them are investigated and discussed. Firstly, starting with understanding of Verdi's life, the author tried to find out what and who influenced him most during his work can be caught. At the end of this thesis, summarizes the history of Taiwanese Opera and its development in modern time by taking an example of my own experiences of the children Taiwanese opera troupe set up in Hsyou Lang Elementary School. Steps taken to do the research： 1. Analysis and explanation to the composition of Verdi's Aria Ah, fors'è lui. 2. Introduction to the melody of song and performance in Ah, fors'è lui. 3. Interpretation and analysis in singing and performing of seven-word pattern in Taiwanese Opera. And finally, comparing the characteristics of these two operas and proposing their similarities and differences are discussed and concluded in this research. Giuseppe Verdi, the famous Italian opera composer in the world, was known for his work La Traviata, which is with great vitality and attraction, and the Aria Ah, fors'è lui is the most favorite part of it. Seven-word pattern is a regular part in Taiwanese opera, which has set form and has to be sung in operatic selection. It might combine with other operatic patterns, due to the changing of dramatic effects. Key Words: Opera, Operatic pattern, Seven-word pattern
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Chao-Ju, Yang, and 楊招如. "A Study on the Amina’s Aria Form in Vincenzo Bellini’s Opera" La Sonnambula"." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/k5zc7a.
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Hsieh, Hui-chin, and 謝慧瑾. "The Study of the Folklore Pai-Chang of Peking Opera Aria in Tainan City." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/75053687494716016691.
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碩士國立臺南大學
鄉土文化研究所碩 / 博士班
92
The words “Pai-Chang“(Chinese)or “Pai5 Tiunn5”(Taiwanese) have many meanings. But when used in traditional opera or music and explained as a kind of formal musical performance, they are only applied in Taiwanese Peguan and Nanguan cultural circle, particularly in Peguan circle. There are two kinds of characters of “Pai-Chang” in terms of the function of the performance, namely artistry and folk custom. In Tainian city, “Pai-Chang”, which refers to the formal vocal performance without makeup and acting; nevertheless, is used by the amateur actors’ organizations of Peking opera as well. Such a phenomenon raises two questions: first of all, Although Peking, the origin of Peking opera, has vocal performance of Peking opera, “Pai-Chang” is never used, either artistry or folklore, therefore, how does this jargon hand down to the Peking opera circle in Tainan city ? And what does the vocabulary floating phenomenon mean ?Secondly, although in Peking, Peking opera is a kind of folk drama, which is popularized for everyone, from the noble family to the peasants, due to the political and social context, Peking opera in Taiwan used to be regarded as a political privilege for the upper class and is mainly an indoor performance. In Tainan city, however, “Pai-Chang” becomes an outdoor performance and is combined with folk activities. How does such a kind of culture being formed in Tainan city? How wide does this culture phenomenon spread ? And what are its content, change and meaning? This paper, therefore, examines the development of “the folklore Pai-Chang of Peking opera aria in Tainan city” through literature review, depth-interview, oral history and participant observation. The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle. There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era, Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music. Some people who came from other places and played Peking opera aria had also known or learned “Pai-Chang”(this words and local custom) with touching Tainan local amateurs. “Pai-Chang” used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards. Amateurs volunteered to perform “Pai-Chang” only for their duty temples and fraternity of Peking opera aria. The majority of the audience is people who perform or like “Pai-Chang” or who live nearby. There is a fixed pattern of the performance, including the repertoire and the arrangement of the band. The main meaning of this performace is to pray God’s blessings, therefore the procedure of “Ban-Hsian”(God imitating) is the most essential and ahead of Peking opera aria singing. With time goes by, the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence, some of the amateurs have been trained to become professional performers. Besides, although the idea and the meaning of “Pai-Chang” remains, the pattern of the performance has become simplified and rigid, which is because of the performers’ number decreasing and market adapting. Nowadays, the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing, which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed, and most people’s pursuing of specialization and utilitarianism etc.) According to the findings in this paper, the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies. For the studies of the Taiwanese culture, however, the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore), but also reflects the characters of diversification, integration, adaptation, and compromise of Taiwanese culture, which used to be influenced by different regimes and the historical contexts. Facing such a multicultural context, this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood.