Relevant bibliographies by topics / Pietro Mascagni

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

Academic literature on the topic 'Pietro Mascagni'

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

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Journal articles on the topic "Pietro Mascagni"

1

Ashbrook, William. "Lodoletta. Pietro Mascagni." Opera Quarterly 8, no. 4 (1991): 147–49. http://dx.doi.org/10.1093/oq/8.4.147.

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Baxter, R. "Isabeau Pietro Mascagni." Opera Quarterly 13, no. 2 (January 1, 1996): 163–67. http://dx.doi.org/10.1093/oq/13.2.163.

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Drake, J. A. "Silvano. Pietro Mascagni." Opera Quarterly 13, no. 3 (January 1, 1997): 202–6. http://dx.doi.org/10.1093/oq/13.3.202.

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Mattock, A. "Amica. Pietro Mascagni." Opera Quarterly 14, no. 1 (January 1, 1997): 179–82. http://dx.doi.org/10.1093/oq/14.1.179.

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Fregosi, W. "Parisina. Pietro Mascagni." Opera Quarterly 17, no. 4 (January 1, 2001): 775–77. http://dx.doi.org/10.1093/oq/17.4.775.

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Mallach, Alan. "Nerone. Pietro Mascagni." Opera Quarterly 8, no. 2 (1991): 163–67. http://dx.doi.org/10.1093/oq/8.2.163.

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Mallach, Alan. "Le maschere. Pietro Mascagni." Opera Quarterly 11, no. 3 (1995): 186–90. http://dx.doi.org/10.1093/oq/11.3.186.

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Mallach, A. "Two by Pietro Mascagni." Opera Quarterly 12, no. 3 (January 1, 1996): 147–51. http://dx.doi.org/10.1093/oq/12.3.147.

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McKee, D. "Cavalleria rusticana. Pietro Mascagni." Opera Quarterly 14, no. 4 (January 1, 1998): 146–48. http://dx.doi.org/10.1093/oq/14.4.146.

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Baxter, R. "Guglielmo Ratcliff. Pietro Mascagni." Opera Quarterly 16, no. 2 (January 1, 2000): 316–18. http://dx.doi.org/10.1093/oq/16.2.316.

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Dissertations / Theses on the topic "Pietro Mascagni"

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Dvořáková, Jana. "Písňová tvorba Pietra Mascagniho." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78129.

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This theses is focused ti the unknown area of Pietro Mascagni's creation - the song. I bring giography of Mascagni in the first section. This section is separated into five parts: Pietro Mascagni - curriculum vitae, Friends, Mascagni and Women, Mascagni - conductor, Mascagni and cinematography. In the second part I'm engaged in the creation of song. Also this chapter have four parts: Pietro Mascagni's song, Complete summary of songs. The six songs, Discography. The part The six songs is more deeply payed to songs,which I worked up.
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Hartgraves, Youna Jang. "Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011843/.

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As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.
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Evans, John Scoville. "Parisina: Literary and Historical Perspectives Across Six Centuries." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4074.

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This thesis explores the relationship between the many literary texts referring to the deaths of Ugo d'Este and Parisina Malatesta, who were executed in Ferrara in 1425 in accordance with an order by Niccolò III d'Este after he discovered their incestuous relationship. The texts are divided in three categories: (1) the fifteenth- and sixteenth-century Italian novellas and their translations; (2) the seventeenth-century Spanish tragedy; and (3) the nineteenth- and twentieth-century Romantic works. Although these categories divide the various texts chronologically, they also represent a thematic grouping as the texts within each category share common themes that set them apart from those in the other groups. While the various texts all tell the same story, each approaches the tragedy slightly differently based largely on the audience for which it was intended. Thus, the time and place of each text greatly affects its telling. Still, the fact that substantial differences exist between texts that were produced in both geographic and temporal proximity suggests that these are not all-determining factors. Although scholarship exists analyzing individual texts, a comprehensive study of the literary accounts relating to the tragedy has never been undertaken. Rather than detracting from the story, the differences put forth in each of the literary texts enrich the global reading experience by offering many perspectives on the tragedy. In addition, these differences influence how the reader reacts to each of the other texts. Familiarity with one version of the story changes the way a reader approaches the others. A parallel reading of the different versions of the story also shows the power culture has on interpretation. Texts referring to a singular event from one time and place sharply contrast with those that are the product of other circumstances.
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Peng, Yi Xi, and 彭怡熹. "The Analysis and Interpretation of Pietro Mascagni’s Opera “L’amico Fritz”–with Soprano Role of Suzel as examples." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/z735v2.

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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
Abstract This paper aims to explore the origin and development of Realism in literature and art, and to examine the influence of Realism on Italian opera through discussion and analysis of the opera L’amico Fritz by Pietro Mascagni (1863-1945). This paper is divided into an introduction, four chapters and a conclusion. The introduction explains the motive and scope of this research; the second chapter describes the evolution and development of Realism and discusses the influence of the Realism on Italian opera; the third chapter discusses the life of Pietro Mascagni and his influence on the Italian realistic opera; the fourth chapter focuses on the playwright and the plot of L’amico Fritz; the fifth chapter includes analysis and interpretation of two arias by the leading female character Suzel, a folk song, and the famous Suzel, buon di. The concluding chapter aims to examine the compositional techniques used by Mascagni as reflected through the character of Suzel in L’amico Fritz, to explore Mascagni’s musical expressions, and to further discuss how these expressions and the Italian realistic movement in opera might have influenced each other.
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Books on the topic "Pietro Mascagni"

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Pietro Mascagni. Palermo: L'epos, 2011.

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2

Flury, Roger. Pietro Mascagni: A bio-bibliography. Westport, Conn: Greenwood Press, 2001.

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Ghirardini, Gerardo. Invito all'ascolta di Pietro Mascagni. Milano: Mursia, 1988.

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Borgiotti, Mario. Mario Borgiotti: Ritratti a Pietro Mascagni. Firenze: Edizioni Pananti, 1995.

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Pietro Mascagni: Biografia e cronologia esecutiva. Livorno: Circolo musicale Amici dell'opera Galliano Masini, 2005.

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Benvenuti, Nedo. Pietro Mascagni: La vita e le opere. Livorno: Debatte, 2004.

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Pietro Mascagni: La vita e le opere. Livorno: Debatte, 2004.

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8

Pini, C. Guglielmo. Mascagni a quattro mani: [ricordi narrati da Pietro Mascagni ad un amico giocando a scopone]. Viareggio: Editrice Il cardo, 1992.

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Convegno di studi su Pietro Mascagni (2nd 1988 Livorno, Italy). Mascagni e l'Iris fra simbolismo e floreale: Atti del 2o Convegno di studi su Pietro Mascagni : Livorno, Palazzo civico, Sala consiliare, 7-8 maggio 1988. Milano: Casa musicale Sonzogno di Piero Ostali, 1989.

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Convegno di studi su Pietro Mascagni. Atti del 2 C̊onvegno di studi su Pietro Mascagni: Livorno, Palazzo civico, Sala consiliare, 7-8 maggio 1988 : Mascagni e l'Iris fra simbolismo e floreale. Milano: Casa musicale Sonzogno di Piero Ostali, 1989.

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Book chapters on the topic "Pietro Mascagni"

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Wagner, Hans-Joachim. "Pietro Mascagni." In Fremde Welten, 75–168. Stuttgart: J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-03768-8_5.

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Maehder, Jürgen. "Mascagni, Pietro." In Komponisten Lexikon, 365–67. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_182.

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Maehder, Jürgen. "Mascagni, Pietro." In Metzler Komponisten Lexikon, 469–71. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_184.

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"PIETRO MASCAGNI." In The Opera Lover’s Companion, 205–9. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300130812-036.

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"PIETRO MASCAGNI." In The Opera Lover’s Companion, 209–24. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300130812-037.

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"Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni’s Rapsodia Satanica (1915)." In Music, Narrative and the Moving Image, 67–84. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004401310_006.

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