Relevant bibliographies by topics / Pagliacci

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

Academic literature on the topic 'Pagliacci'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Pagliacci"

1

Albright, William. "Pagliacci. Ruggero Leoncavallo." Opera Quarterly 8, no. 4 (1991): 155–57. http://dx.doi.org/10.1093/oq/8.4.155.

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Green, London. "Pagliacci. Ruggero Leoncavallo." Opera Quarterly 4, no. 2 (1986): 166–67. http://dx.doi.org/10.1093/oq/4.2.166.

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Harris, Kenn. "Pagliacci. Ruggero Leoncavallo." Opera Quarterly 7, no. 3 (1990): 201–3. http://dx.doi.org/10.1093/oq/7.3.201.

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Williams, Gavin. "Machine Speak Ruggiero Leoncavallo, ‘Vesti la giubba’ (Pagliacci), I Pagliacci, Act I." Cambridge Opera Journal 28, no. 2 (July 2016): 243–46. http://dx.doi.org/10.1017/s095458671600032x.

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AYYILDIZ, Bülent. "Operada Cinayet: “Cavalleria Rusticana” ve “I Pagliacci”." Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi 58, no. 1 (October 5, 2018): 82. http://dx.doi.org/10.33171/dtcfjournal.2018.58.1.5.

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Pietro Mascagni’nin “Cavalleria Rusticana” ve Ruggero Leoncavallo’nun “I Pagliacci” adlı operaları İtalyan Risorgimento döneminin en önemli eserlerindendir. İtalyan Birliği’nin sağlanmasının ardından ortaya çıkan toplumsal, siyasal ve kültürel değişimleri ilk elden yansıtan eserler olarak bu iki opera hem kronolojik olarak hem de konu bütünlüğü açısından birbirini tamamlar niteliktedirler. Mascagni’nin 1890 ve Leoncavallo’nun 1892 tarihli operaları İtalyan operasında bir dönüm noktasını ifade ederken, yeni bir tiyatro ve sanat anlayışının doğuşunu müjdeler: gerçekçilik ve verist opera. “Cavalleria Rusticana” ve “I Pagliacci” verist opera anlayışının öncüleri, bir anlamda da kural koyucu örnekleri olarak hem tiyatro, hem de edebiyat tarihinde önemli bir yer tutarlar. Bu çalışmanın amacı, “Cavalleria Rusticana” ve “I Pagliacci” adlı operalardan yola çıkarak, Risorgimento dönemi verist opera anlayışını incelemek, opera ve edebiyat arasındaki ilişkiyi irdelemek ve duyguların opera aracılığı ile yeniden yorumlanmasına ilişkin değerlendirmelerde bulunmaktır.
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Díaz Hilton, Adrián. "Los niveles metaficcionales en Pagliacci." Interpretatio. Revista de Hermenéutica 5, no. 2 (August 17, 2020): 207–22. http://dx.doi.org/10.19130/iifl.it.2020.5.2.0013.

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Metafictional levels in Rugiero Leoncavallo’s Pagliacci establish the concept of reality set in dramatic and interpretative functions. This essay aims to explain, throughout a hermeneutic and a semiotic analysis, how metafiction creates a meaningful link between reality and fiction. Here, a hermeneutic theory that relies on the spectator’s, actors’ and the director’s point of view is developed from the concept of verism. The author of the libretto plays around within the planes of reality and fiction to create an enigma that explains the meaning and interpretation phenomenon using a metaplay as a frame liaised by a mise en abyme. It is concluded that metafiction reaches beyond a single structure within another that explains itself, it leaves the margins of reality, fiction and the spectator’s imagination, and they build the oeuvre’s signification.
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Basini, Laura. "Masks, Minuets and Murder: Images of Italy in Leoncavallo's Pagliacci." Journal of the Royal Musical Association 133, no. 1 (2008): 32–68. http://dx.doi.org/10.1093/jrma/fkm012.

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This article interprets Leoncavallo's opera Pagliacci (1892) as a voicing of Italy's ‘Southern Question’ – the problem of the underdeveloped and socially troubled Italian South. Pagliacci juxtaposes cultural symbols that include a commedia dell'arte figure representative of the Italian South and antique genres perceived to be emblematic of ‘civilized’ northern culture. By interpreting the interaction of costumes and musical styles, I argue that the work incorporates images of southern Italy – that ‘violent’, ‘uncontrollable’, yet ‘picturesque’ region – into a broader, northern-dominated conception of Italian nationhood (an interpretative mechanism typical of contemporary image-making media such as magazines and novels).
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8

Bachelet, Vivienne C. "The taxi driver and I Pagliacci." Medwave 09, no. 02 (October 1, 2009): e3776-e3776. http://dx.doi.org/10.5867/medwave.2009.02.3776.

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9

McKee, D. "Two Recordings of Pagliacci. Ruggero Leoncavallo." Opera Quarterly 12, no. 3 (January 1, 1996): 144–47. http://dx.doi.org/10.1093/oq/12.3.144.

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10

Giger, Andreas. "“Svesti la giubba,” or, Uncloaking the Genesis of Pagliacci." 19th-Century Music 41, no. 3 (2018): 225–51. http://dx.doi.org/10.1525/ncm.2018.41.3.225.

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In 1943 Allied bombs destroyed the archives of Leoncavallo's publisher, Sonzogno, and of the Teatro Dal Verme, where Pagliacci was first performed. As a result, many sources pertaining to the opera's compositional history were lost, and scholarship has relied almost exclusively on Leoncavallo's unpublished autobiographical manuscript, “Appunti.” Contextual sources such as notifications in the press, eyewitness accounts, and a large body of mostly unpublished correspondence now suggest that Leoncavallo cloaked the opera's genesis to protect its legacy. Leoncavallo was twice charged with having imitated an existing play. In his protracted defense, he took every opportunity to distinguish his libretto from the literary tradition to which it belongs and tie it instead to the verismo movement (with which critics had associated it since the premiere). He began to claim, for instance, that the libretto was based on a crime of passion he had witnessed in Montalto and invented a version of that crime that matched the libretto. Furthermore, in preparation of the first performance in Paris, he actively contributed to a staging faithfully depicting Montalto in an attempt to highlight the originality of the story. And as he was tightening the opera's connection to verismo, he was concealing aspects that would have reflected poorly on the opera's reception, including Sonzogno's initial concerns regarding the music and the presence of substantial musical self-borrowings.
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Dissertations / Theses on the topic "Pagliacci"

1

Tang, Yi-ying, and 湯怡盈. "A study of two italian verismo opera classics─ Mascagni’s opera “Cavalleria Rusticana” and Leoncavallo’s opera “I Pagliacci”." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/76510706634399585269.

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碩士
東吳大學
音樂學系
93
Research of Italian Verismo halts at the 1960s and then resumes till seventies and eighties, when some of musicologists proposed some thesis of more importance. Among them, Italian Opera in Transition (Jay Reed Nicolaisen, 1977) is a more important and relevant one. Inside the article there is a detail description about the movement and changes of Italian operas of late nineteenth century. It also mentions various different meanings about the term “Verismo.” Verismo: from Literature to Opera (Matteo Sansone, 1987) mainly focuses on those adapted from verismo literature and emphasizes Mascagni’s Cavalleria Rusticana and Giordano’s Mala Vita by analyzing the relation between Literature Verismo and Opera Verismo. Realism in Nineteenth-Century Music (Carl Dahlhaus, 1985) also makes a special discussion about Italian Verismo Opera, while in terms of Aesthetics. Chapter one to three discuss via a view of historic development. Chapter one analyzes the social background, social environment and mainstream spirits of late nineteenth century to early twentieth century. After that is the analysis in the perspective of the development of Literature Verismo: Realism→ French Naturalism→ Italian Verism. Chapter two makes a discussion about the development process of Opera. In Italy, traditional Italian opera has already reached a high after Verdi. Under this circumstance, young composers sought for new inspirations and trial of new themes. At the same time, Italian publisher also introduced French opera and hold several composition contests, hoping that it would encourage young artists to create new pieces. Influences of Verismo exist in many kinds of art, and opera is no exception. This thesis works on the developmental process of verismo opera and the change of its style by using comparison and analysis of topic-selecting trend of contemporary composers and their background. Chapter three reaches the main part of this thesis─ Cavalleria Risticana and I Paggliacci. In chapter three, it organizes the composing process of composer and the background back then. Chapter four and five compare these two operas. Chapter four analyzes their libretti and using the way of induction to collect the way of thinking and the arrangement of the whole story’s structure of both playwrights and composers. Comparison is in the last section of this chapter. Chapter five is the musical analysis of these two operas, such as music structure, melody, harmony, orchestration, chorus, and ensemble; it is also the most important part of this work. After the comprehensive analysis, what resides in the last section is the discussion of singing style of Verismo.
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Books on the topic "Pagliacci"

1

Hillstrom, Gene. A Welsh pagliacci. London: Parallax, 1995.

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2

Arrivano i pagliacci. Milano: Bompiani, 2002.

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3

Gamberale, Chiara. Arrivano i pagliacci. Milano: Bompiani, 2002.

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4

Leoncavallo, Ruggiero. Der Bajazzo =: I Pagliacci. Mainz: Schott, 1990.

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5

Longobucco, Luisa. I "Pagliacci" di Leoncavallo. Soveria Mannelli: Rubbettino, 2003.

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Longobucco, Luisa. I Pagliacci di Leoncavallo. Soveria Mannelli (Catanzaro): Rubbettino, 2003.

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7

Zemlinsky, Alexander. Der Zwerg =: Il nano / Alexander von Zemlinsky . Pagliacci. Torino: Teatro Regio, 2001.

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8

Leoncavallo, Ruggiero. I pagliacci =: The clowns : opera in two acts. [United States]: A.J. Puhek, 1997.

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9

Russell, P. Craig. Parsifal, Ariane & Bluebeard, I Pagliacci & Songs by Mahler. New York: NBM Pub., 2003.

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10

Marco, Vallora, ed. Quartetto della maledizione: Materiali per Rigoletto, Cavalleria e Pagliacci, Fanciulla. Milano: Ubulibri, 1985.

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Book chapters on the topic "Pagliacci"

1

Merian, Hans. "Leoncavallo’s Pagliacci And Modern-Realistic Opera Introduction by Walter Frisch, Translation and Notes by Elaine Fitz Gibbon." In Giacomo Puccini and His World, edited by Arman Schwartz and Emanuele Senici, 273–90. Princeton: Princeton University Press, 2016. http://dx.doi.org/10.1515/9781400884063-013.

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"Leoncavallo’s Pagliacci Operatic Metareference on Stage and on Film." In Self-Reference in Literature and Music, 153–73. Brill | Rodopi, 2010. http://dx.doi.org/10.1163/9789042031593_009.

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3

Hamberlin, Larry. "Mister Pagliatch and Miss Tetrazin'." In Tin Pan Opera, 45–70. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780195338928.003.0003.

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Wilson, E. Vance. "Creating Patient Centered E-Health." In Encyclopedia of Healthcare Information Systems, 318–24. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-889-5.ch042.

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As e-health applications have increased in number and variety, the generalized concept of e-health as “health services and information delivered or enhanced through the Internet” (Eysenbach, 2001) has lost much of its value as a mechanism for guiding development and research in this emerging field (Pagliari et al., 2005). E-health has expanded to comprise purely clinical applications (e.g., physicians consulting on a diagnosis) (Wiecha & Pollard, 2004), emergency health communication applications (e.g., for distributing information about SARS) (Rizo, Lupea, Baybourdy, Anderson, Closson & Jadad, 2005), disease-focused applications (e.g., diabetes self-management support) (McKay, Glasgow, Feil, Boles & Barrera, 2002), applications to support electronic communication between patients and physicians (Wilson, 2003), and commercial applications that have no association with a patient’s own health care provider (e.g., WebMD) (Itagaki, Berlin & Schatz, 2002). It is clear that the needs of both users and researchers vary widely across these diverse applications, and I argue that both groups would benefit from development of finer-grained approaches to thinking about e-health.
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