Dissertations / Theses on the topic 'Traviata'

The main chapter of this work is more detailed analysis of the Violetta´s part from the opera La Traviata by Giuseppa Verdi. The emphasis is put on the singing part, technical difficulty and the own view. The main topic is completed by the chapter describing composer´s about their creation. A big part is put in comparing diferent interpretations of the main part. A huge selection of the famous sopranos from the beginning of the 20th century to the presentis contained here.

Thesis (Ed. D.)--Teachers College, Columbia University, 1987.
Typescript; issued also on microfilm. Sponsor: Louis Forsdale. Dissertation Committee: Raymond P. McDermott. Bibliography: leaves 217-225.

The diploma work is focused on analysis of particular stagings of Verdi´s La traviata that have been assessed independently, without being influenced by other sources (reviews), on the basis ov videorecordings of life performances. These opera performances are compared from singer´s, director´s and staging point of view. All opera versions are sorted out into various parts according to common aspects and then are analysed. A brief description of Verdi´s work compiled chronologically as well as a historical portfolio of the opera La traviata (its first night both in Venice and in our country) are included.

If one painstakingly analyzes and compares the novel, the theatrical and the libretto versions of Marguerite-Violetta, a several-time reborn character from the novel and drama Camille, one notices striking differences and gleans useful insights as to the peculiarity of the three genres involved (novel, theatre and opera) and as to the reductive work of the libretto writer who, by modifying the roles of the characters and the values they channel, achieves a synthesis that has no match in the works he draws from.
This thesis aimed precisely at highlighting the intervening differences among the three genres, while pointing out the changes which were introduced and the peculiar nature of the final product, the libretto of La Traviata .

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The 19th century Europe has passed for many transformations, among they, the setting of italian unification. This political process had the support of some personalities, as Giuseppe Verdi, one of the most important italian opera composers. Between his most famous compositions, La Traviata stands out for its big sucess in the after year of debut. In its first presentation, this opera were strongly criticized. This research discusses the reception of this drama by the bourgeoisie, through the libretto and literary and historical plot, analyzes few aspects of period. Thus, this opera were considered imoral and offensive for good customs of italian bourgueois society, who recognized his own defects in this spectacle
A Europa do século XIX passou por diversas transformações, entre elas, a consolidação da unificação italiana. Este processo político contou com o apoio de algumas personalidades, como Giuseppe Verdi, um dos mais importantes compositores de ópera italianos. Entre suas composições mais famosas, La Traviata destaca-se por seu grande sucesso, no ano posterior à sua estreia. Em sua primeira apresentação, esta ópera foi duramente criticada. Esta pesquisa, discute a recepção da obra pela burguesia, através do libreto e tramas literária e histórica, analisa alguns aspectos do período. Desta forma, esta ópera foi considerada imoral e ofensiva aos bons costumes da sociedade burguesa italiana, que reconheceu seus próprios defeitos neste espetáculo

The aim of this paper is to present a study showing the characteristics that underlie the gender created by Augusto Boal in 1999 called sambópera and identify the elements that conceptualize it as a multicultural gender, putting into perspective such concepts as hybridity, identity and the concept of opera as musical theater. Sambópera consists in rereading operas of classic-romantic tradition, contextualizing them culturally. This rereading, besides being a social critic, discusses the issue of multiculturalism within the Brazilian society. Taking as an object of research the work "A Traviata: A Metáfora do Desejo (2002), we assume that sambópera is a cultural gender, result of Boal experience in exile, and that is part of the artistic context built in post-modernity, signaling to the plural, for multiplicity. From the methodological point of view we related the documentary sources with the audio-visual sources, in order to identify how Boal, along with Marcos Leite, Jayme Vignoli and Celso Branco have developed multiculturalism in the creation of sambópera.
No ano de 1999 o dramaturgo Augusto Boal inaugura sua mais nova criação, a sambópera, que consiste na releitura de obras operísticas da tradição clássico-romântica, contextualizando-as culturalmente. Esta releitura, além de uma crítica social, problematiza a questão do multiculturalismo no seio da sociedade brasileira. Tomando como objeto de investigação A Traviata: A Metáfora do Desejo (2002), o presente trabalho pretende, portanto, discutir as características que fundamentam a sambópera e identificar os elementos que a conceituam como um gênero multicultural, colocando em perspectiva conceitos como hibridismo, identidade e a concepção da ópera como teatro-musical. Partimos do pressuposto de que a sambópera é um gênero intercultural, resultado da experiência de Boal no exílio, e que faz parte das manifestações artísticas construídas no contexto da pós-modernidade, sinalizando para o plural, para a multiplicidade. Sob o ponto de vista metodológico procuramos confrontar as fontes documentais com as fontes audiovisuais, buscando identificar a forma como Boal, juntamente com Marcos Leite, Jayme Vignoli e Celso Branco, desenvolvem o multiculturalismo na construção da sambópera.

[spa] En esta tesis se hace una comparación de la novela y de la pieza teatral tituladas La Dame aux camélias, de Alexandre Dumas fils y de la ópera La Traviata, de Giuseppe Verdi, obras basadas en la figura de la célebre cortesana francesa del siglo XIX, Marie Duplessis, para verificar cómo la misma historia ha sido recreada a partir de géneros artísticos dife-rentes, bajo la hipótesis de que las diferentes artes se iluminan recíprocamente. Un objetivo de este trabajo es estudiar el proceso de creación de estas obras, desde su contexto social y cultural, analizando las personas reales y los personajes implicados. Otro objetivo es confrontar los elementos constitutivos de cada obra, para verificar simi-litudes y divergencias entre ellas, así como para constatar las fases de los distintos proce-sos de adaptación que han tenido lugar en su creación, así como el papel de la dramaturgia. Bajo el arco que va desde la Literatura hasta la Música se han desarrollado varios gé-neros artísticos que han utilizado tanto el lenguaje literario como el lenguaje dramático y el musical, para crear diferentes obras estéticas en un proceso de adaptación que permite descubrir los mismos motivos y la misma trama en la novela, en el drama y en la ópera.
[eng] En aquesta tesi es fa una comparació de la novel.la i de la peça teatral titulades La Dame aux camélias, d’Alexandre Dumas fils i de l’òpera La Traviata, de Giuseppe Verdi, obres basades en la figura de la cèlebre cortesana francesa de segle XIX, Marie Duplessis, per verificar com la mateixa història ha estat recreada a partir de gèneres artístics diferents, sota la hipòtesi que les diferents arts s’il·luminen recíprocament. Un objectiu d’aquest treball és estudiar el procés de creació d’aquestes obres, des del seu context social i cultural, analitzant les persones reals i els personatges implicats. Un altre objectiu és confrontar els elements constitutius de cada obra, per verificar similituds i divergències entre elles, així com per constatar les fases dels diferents processos d’adaptació que han tingut lloc en la seva creació, així com el paper de la dramatúrgia. Sota l’arc que va des de la Literatura fins la Música s’han desenvolupat diversos gèneres artístics que han utilitzat tant el llenguatge literari com el llenguatge dramàtic i el musical, per crear diferents obres estètiques en un procés d’adaptació que permet descobrir els mateixos motius i la mateixa trama en la novel.la, en el drama i en l’òpera.
[eng] A comparison is made among three famous works of art: La Dame aux camélias, the novel written by Alexander Dumas, Jr., the play of the same name written by the same author based on his novel, and La Traviata, the opera by Giuseppe Verdi. The three deal with the figure of the famous 19th century French courtesan Marie Duplessis. The pur-pose of the present work is to show that the same story has been created on the basis of different artistic genres, with the hypothesis being that different works of art can contribute to and shed light on one another. One goal of this work is to study the creation process of the three pieces of art, from their social and cultural context to the analysis of the people and the characters involved. Another goal is to compare the components of each work in order to see similarities and divergences, while also contrasting the phases of the various adaptation processes expe-rienced in their creation and exploring the role that dramaturgy has played. It is believed that in the spectrum that goes from literature to music, various artistic genres have been developed, which make use of literary language as well as dramatic and musical language. Thus, works of art have been created through a process of adaptation that reveals the same reasons, the same events, and the same plots, in novels, dramas, and operas.

The goal of this study was to examine the use of non-destructive compression tests, and hyperspectral imaging for determining physical quality attributes of eggplant (Solanum melongena L. cv. Traviata). The effects of source (farms where samples came from), light and temperature conditions during storage were studied. Non-destructive compression tests were conducted to obtain surface stiffness (S) parameter whereas the hyperspectral-imaging technique was used in the near infrared (NIR) spectral range (900-1,700 nm), to indicate the peel gloss (G) of fresh and stored eggplants. Eggplant density (D) was computed by dividing its weight (W) by its volume (V). Laboratory tests were carried out to develop a freshness index for an American variety of eggplant fruit (Solanum melongena L. cv. Traviata). It was determined that source (farm) was a highly significant factor on quantitative and qualitative quality parameters. Light and temperature conditions had as well significant impact on such parameters, and their respective ratios, at different storage periods. Surface stiffness and peel gloss decreased during postharvest storage. On the contrary, density increased significantly over time. Based on this, a freshness index (If) of eggplant was defined as the product of surface stiffness and peel gloss ratios divided by the density ratio.If was then plotted vs. mass, density, surface stiffness, and peel gloss ratios, and storage period (h) in order to apply kinetic approaches to fit models with which it was possible to predict such index. The values of correlation coefficient (CC) and Mean Square Error (MSE) were assessed to see how well the curves fitted. If as a function of surface stiffness loss (SL) was the best model; it showed the highest CC (0.99) and the lowest MSE values (0.0014). The least accurate predictor was If as a function of peel gloss loss (GL). Stepwise regressions were performed to determine which wavelengths were significant for If. The models built with such wavelengths for fruits stored at 10 and 27°C showed CC values of about 0.73 and 0.90, respectively. Freshness index is a concept that may be helpful to avoid over or underestimations of eggplant quality and, hence, to fix fair prices. Nevertheless, more varieties of eggplant should be studied to validate this concept. More temperature conditions should be studied in the future in order to apply the Arrhenius' equation.
Des essais en laboratoire ont été effectués pour développer un indice de fraîcheur pour une variété américaine d'aubergine (Solanum melongena L. cv. Traviata). Des essais de compression non destructifs et d'imagerie hyperspectrale dans le proche infrarouge (NIR, 900 à 1 700 nm), ont été réalisées pour mesurer la fermeté (S) et la brillance de la peau des aubergines fraîches et entreposées sous différentes conditions de luminosité et de température). La densité de fruit (D) a été calculée en divisant la masse (W) par le volume (V). Il a été démontré que la provenance des fruits (ferme) a été un facteur important qui a affecté les paramètres quantitatifs et qualitatifs. La lumière et la température ont aussi eu un impact sur ces paramètres et de leurs rapports respectifs, à des périodes d'entreposage différentes. Les paramètres S et G ont diminué au cours de l'entreposage post-récolte, tandis que le paramètre D a augmenté de façon significative au cours de la période d'entreposage. Sur cette base, un nouvel indice de fraîcheur (If) de l'aubergine a été défini comme étant le produit du rapport de fermeté de la surface (Sr) et le rapport de pelage brillant (Gr), divisé par le rapport de densité (Dr).Par la suite, les relations entre If et les paramètres Wr, Dr, Sr, et Gr, et la période de stockage (t) ont été établies en tenant compte de la cinétique (loi d'Arrhenius) ont permis d'établir des modèles permettant de prédire cet indice. Les valeurs du coefficient de corrélation (CC) et l'erreur quadratique moyenne (MSE) ont été évalués pour identifier les meilleurs modèles. Le modèle exprimant If en fonction de la perte de rigidité de la surface (SL; 1 – Sr) était le meilleur modèle avec la plus haute valeur de CC (0,99) et la plus basse valeur de MSE (0,0014). Le modèle le moins précis était lorsqu'on exprimait If en fonction de la perte de brillance de la peau (GL; 1 - Gr). Régressions par étapes ont permis d'identifier les longueurs d'onde les mieux corrélées à l'If. Les modèles construits avec de ces longueurs d'onde pour les fruits entreposés à 10 et 27°C étaient caractérisés par des valeurs de CC 0,73 et 0,90, respectivement. Indice de fraîcheur est un concept qui peut être utile pour éviter de sous-estimer la qualité des aubergines et, par conséquent, de fixer des prix équitables. Néanmoins, plusieurs variétés d'aubergines doivent être étudiés afin de valider ce concept. De plus, plus de températures doivent être étudiées afin d'accroître la précision des modèles prédicatifs basés sur la loi d'Arrhenius.

Le regroupement de Rigoletto, d'Il Trovatore et de la Traviata sous le terme de trilogie, est l'acception populaire et savante. Pourtant aucune définition convaincante ne vient renforcer ce concept. Les opéras de la trilogie témoignent de l'intérêt que Verdi porte au drame romantique français, à sa dramaturgie en particulier. C'est à travers la "posizione", un vocable employé par Verdi pour désigner une unité dramaturgique constituante, que se manifeste cet intérêt. Verdi élabore une dramaturgie générative à partir de la "posizione", lui subordonnant les langages dramatique, littéraire et musical. Cette démarche permet d'intégrer les caractéristiques du drame romantique français. Elle est à l'origine d'une pensée dramatique commune aux trois opéras et offre une nouvelle définition à la trilogie
The grouping together of Rigoletto, il Trovatore and la Traviata as a trilogy is both a popular and scholarly tradition. However, there is no convincing definition to corroborate this concept. The three operas attest to Verdi’s interest in French romantic drama, more particularly in its dramaturgy. This interest of his appears in what Verdi calls "posizione", to designate a single dramatic sequence. Verdi's generative dramaturgy is developed from this concept of "posizione" to which he subordinates all the different languages, literary, musical, and dramatic proper. This enables him to integrate the characteristics of the French romantic drama. Verdi's approach is at the root of a dramatic conception common to all three operas, therewith providing a new working definition for the trilogy

Le film d’opéra correspond à la rencontre de deux formes d’art ayant chacune ses propres règles de mise en scène. Il nécessite de concilier les exigences de l’opéra et celles du cinéma, mais prétend aussi favoriser leur enrichissement mutuel. Notre réflexion porte sur la pertinence, du point de vue créatif, de cette rencontre. Elle vise à mettre en évidence les risques, les enjeux et les intérêts artistiques du film d’opéra. Le corpus revêt une dimension franco-italienne : il se compose de cinq films produits par Daniel Toscan du Plantier (Don Giovanni de Joseph Losey, Carmen de Francesco Rosi, La Bohème de Luigi Comencini, Madame Butterfly de Frédéric Mitterrand, Tosca de Benoît Jacquot) et de deux autres, non produits par lui : La Traviata et Otello de Franco Zeffirelli, qui appartiennent à cette même « vague » du film d’opéra. L’étude s’intéresse tout d’abord à la politique culturelle du producteur Daniel Toscan du Plantier, grâce à qui ce genre cinématographique s’est développé de façon significative dans les années 1980, afin de définir le contexte de création de ses films, de comprendre son engagement en faveur de ce genre artistique et son intérêt tout particulier pour la culture italienne. Notre analyse tend par la suite à évaluer les difficultés techniques ainsi que les libertés créatives qu’engendre le passage à l’écran. L’écriture cinématographique de l’opéra implique des concessions sur le plan de la réalisation et nécessite un positionnement entre les deux esthétiques, mais elle permet aussi une lecture nouvelle et originale de l’opéra. Nous évaluons à la fois les exigences résultant de l’articulation opéra-cinéma et les solutions apportées par les réalisateurs pour répondre à ces contraintes, bien souvent musicales. La réflexion se concentre dans la seconde partie sur l’aboutissement de cette union, tout d’abord à travers l’analyse de l’interprétation visuelle de la musique fournie par les réalisateurs pour chacun des films du corpus, selon une approche thématique. Elle montre comment l’image mobile transcrit la musique, comment l’écriture cinématographique traduit visuellement la partition et peut accroître la dimension émotive. Enfin, elle s’intéresse à la réception de ces films en France et en Italie, en vue de mesurer l’accueil reçu par chacun auprès de la critique, partagée entre démocratisation de l’opéra et vulgarisation de l’art lyrique
The "opera film" corresponds to the encounter between two art forms envolving specific staging rules. It combines the requirements of opera and cinema alike whilst endeavouring to promote their mutual enrichment. In this dissertation I analyse the relevance of this encounter from a creative point of view. I intend to highlight the risks, stakes and artistic appropriateness of the opera film. The body of works has a Franco-italian dimension: it includes five films produced by Daniel Toscan du Plantier (Joseph Losey's Don Giovanni, Francesco Rosi's Carmen, Luigi Comencini's La Bohème, Frédéric Mitterrand's Madama Butterfly and Benoît Jacquot's Tosca) as well as two other films which he did not produced: La Traviata and Otello, by Franco Zeffirelli, also belong to this opera film "wave". First of all, I examine Daniel Toscan du Plantier's cultural policy as a producer. Indeed, it was thanks to him that this cinematic genre flourished significantly in the 1980s. I aim to define the creative context of these films and to understand his commitment towards their promotion as well as his genuine interest for Italian culture. I then move on to analysing the technical difficulties as well as the creative licence which results from screen adaptation. On the one hand, the cinematographic writing of opera implies concessions in staging and requires a position be taken in respect of aesthetics, cinematographic and opera. On the other hand, it also triggers a new and original reading of opera. I assess the requirements which result from the opera-cinema articulation and the solutions, often musical, proposed by films directors confronted to these constraints. In Part II I focus on the achievements of this union, first by thematically analysing each director's the visual interpretation of music provided in the films included in the body of works. I argue that the moving image transcribes music, that cinematographic writing translates the music score visually and that it can enhance the emotional dimension. Finally, I examine the response to these films in France and in Italy, especially through the critics divided between the democratisation of opera and the vulgarisation of lyric art

碩士
國立臺北藝術大學
音樂系碩士在職專班音樂學組
101
Giuseppe Fortunino Francesco Verdi (1813-1901) was one of the representative opera composers in Italy in the nineteenth century. With the advocacy of the revolution trend prevalent in the first half of the 19th century, romanticism and heroic feelings influenced the people of European countries, including Verdi. His early works, which are mostly based on historical themes and have national consciousness as their subject, combined said sentiment with magnificent music and vibrant songs, making him a patriotic musician in the Italian people’s hearts. Verdi wrote the opera La Traviata in 1853, most of which was adapted from the literary work of Alexandre Dumas fils (1824-1895), a French writer. Most of the story’s plots came from the writer’s own experience and faithfully represented lives in the capitalist class and gentry in the 19th century. A low-class prostitute in the novel became a leading role in the opera, which sparked widespread discussions throughout European literary circles and the opera world. This article discusses the origin and development of European Realism in the 19th century and explores different artistic styles and works in European countries that derived from realism after its initiation in the fields of French painting and literature. Finally, the process with which literature led music to yield unusually brilliant results on the stage of Italian Verismo is integrated into the artistic evolution. According to background setting, plot, characters, psychological states and the reflected social status at that period in the opera La Traviata, this article comprehensively concludes that the opera is defined by three main aspects: 1. True reflection of contemporary social status; 2. Exotic elements and local features; and 3. Fashioned personal characters and an inner world, all of which are respectively discoursed to analyze the presentation of this music.

碩士
中國文化大學
音樂研究所
95
Giuseppe Verdi（1813-1901）is one of the greatest opera composer of Romantic period and created numerous works in his whole life.In addition of changing previous patriotic topic and history topic to love story and romantic topic from《La Traviata》.Verdi use many new creative skills,for example recalled melody and promoted the importance of the orchestra. Therefore 《La Traviata》is an important turning point for Verdi. There are a lot of data about introduction of 《La Traviata》 on the market but few of singing part.Therefore this thesis is focused on the development of opera,introduction of G.Verdi, creative skills of G.Verdi and recording of 《La Traviata》 to find out the performance method of nearing to Verdi.

碩士
東吳大學
音樂學系
95
Giuseppe Verdi have Three best-known Opera,"Rigoletto, 1851","La Traviata, 1853","Il Torvatore, 1853",iseverybody is familiar-sounding can detailed ,also is establishes in the Italian opera status important work.This opera until now had more than 100 years history, this opera not only has the extremely high appraisal in the world stage, some many well-known singers once have participated in this opera performance. But Giuseppe Verdi after creates "La Traviata " this opera many years,which work once did some people visit he most to like were.He said that, "If looked by the expert judgement that, I like"Rigoletto ", but by the hobby theory, I likes" La Traviata ".Why may see "La Traviata" this opera so to receive the welcome. Because the author after the contact Giuseppe Verdi this opera, fortunately participates in and the performance directs by the Qiu yulan magnolia teacher, in this opera lead Wei the Austria Li tower (Violetta), in rehearses "La Traviata" in the process,started to in this opera Pitiful and difficult sings the skill to fill the interest and the challenge thought, thereupon decided two arias listed as one of graduation concert programs the play in. In order to will be able in the future the song annotation perfectly,specially will study and in the discussion play in this two most important soprano arias.

碩士
國立嘉義大學
音樂與表演藝術研究所
97
Giuseppe Verdi (1813~1901) was a very important Italian opera composer in Romantic period, during 1830~1890 the 26 operas he wrote lead Italian opera to another high point. Verdi wrote his opera with Italian ideas, created affectionate masterpieces. He also used vocal and orchestra technique in good measure to play important roles in drama. At present Verdi’s operas are still very popular in the world. Paul Agricolo Génin (1832~1903) who graduated from Paris Conservatory was not only a well-known flute player, but also a famous composer of flute variation. The themes of Génin’s “Rigoletto” and “La Traviata” flute fantasies are selection from these two Verdi’s famous opera arias. These arias are so fascinating that lead a person to endless aftertastes. A flute player could be very impressed by traveling in the elegant melodies of Verdi’s arias. Playing Génin’s variations can show advanced techniques and graceful timbres on flute. This paper consists of five chapters. Chapter One is introduction. Chapter Two offers a brief biography of Verdi and Genin, also discusses their music style. Chapter Three is introduction of Verdi’s opera “Rigoletto” and “La Traviata”. Chapter Four is analysis and interpretation of “Rigoletto” and “La Traviata” flute fantasies. Chapter Five is conclusion.

碩士
國立臺中教育大學
音樂學系碩士班
102
Abstract In this thesis, we mainly focus on the two famous Fantasy for flute, "Carmen" and "La Traviata ". Both of the composers capture the appealing arias in the opera, and use the variation techniques to completely show the beauty of tone and the gorgeous techniques of flute. They finally composed their own Fantasy for flute which are different from the opera. Besides, to understand the development of Fantasy, we also analyze the researches about it. The thesis is divided into six chapters. In Chapter I, we will give an introduction to the motivation, purpose, method, scope of studies or literature, and describe the structure and direction of this thesis. In Chapter II, we will display the evolution of compositional style and characteristics of Fantasy for flute in different periods. Chapter III focuses on the architecture and the analysis of Carmen Fantasy for Flute. Chapter IV explains the song structure and the analysis of La Traviata flute Fantasy. We briefly introduce the two operas and two composers. Moreover, we also analyze and research the interpretation of these two Fantasy for flute. Chapter V analyzes these two Fantasy according to the opera materials and the piano interlude and the variation technique. Then, we further discuss how the composers adapted an opera for the gorgeous and charming flute Fantasy. Finally, Chapter VI summarizes the content of each chapter and the conclusions of thesis in the hope of making a contribution to the flute performance. Key word: La Traviata, Carmen, Fantasy

Alexandre Dumas fils' La Dame aux Camélias has existed in various media for more than 150 years, originating from life events that were mediated through the novel and remediated via theater, opera, and film. I examine in my thesis how this particular narrative has survived the centuries and how each depiction relates the social expectations, desires, and fears of the time period in which the revised story is generated. The relationship between Dumas and the famous courtesan Marie Duplessis and its fictional recreations in Dumas' novel La Dame aux Camélias, his play Camille, Giuseppe Verdi's opera La Traviata, and Baz Luhrmann's film Moulin Rouge! reflects a human compulsion to create narratives in order to grasp daily events and to potentially escape those events or comment upon those which do not fit concisely into their socially expected codes of understanding.

碩士
國立臺北教育大學
音樂學系碩士班
103
Absract Yuen-Ren Chao was an important composer and linguist in the May 4th Movement,who also made a futher research in Chinese Language.Choa made lots of brand-new ideas in composition by performing the characteristic of Chinese Tone and intonation,as Chao’s masterly performance on Eastern and Western modes,he did show the different thoughts on music. The main subject of the thesis is based on four art songs from Chao’s work”the new poetry collection”,by analyzing the musical form,compose structure and rhythm of words,we may discuss and comprehend the wonderful conception of his music and the three poets’words. All content of the thesis includes five chapters：Chapter One-The motive and Scope,Chapter Two-Biography of Yuen-Ren Chao and his style of the art songs,Chapter three-Biography and the literature style of three poeters ”Wu-Rou Zhou” ”Da-Bai Liou” ”Ban-Nong Liou” , Chapter four-The analysis and presentation in composition of “Over the Indian Ocean” , ”Selling Cloth ballad” , ”How could I help thinking of her” and ”La Traviata in the drinking song” ,and the Chapter Five-Conclusion, as the final chapter to present whole idea of study. According to the analysis and presentation of these four art songs,we hope that the readers can have further understanding and comperhersion in Chao’s words,also provide a further reference to the singers in the future.

Fenómeno crescente e de importância relevante, a jogabilidade online é dos conteúdos disponíveis na Internet mais populares e rentáveis, assistindo também a um crescimento exponencial ao longo destes últimos anos. A importância desta temática e a ainda escassa existência de material de investigação sobre o mesmo dá forma à pertinência da escolha do tema. Visto como factor-chave e diferenciador do sucesso de um MMOG (Massively Multiplayer Online Game) está o mecanismo social presente no mesmo e como o design do jogo o poderá potenciar. Assim, esta investigação tem como objectivo compreender de que forma o mecanismo social presente nos MMOG se sobrepõe ao alcance dos objectivos pré-definidos pelos jogadores e verificar de que forma se assume como factor-chave neste tipo de jogos. Para tal foram aplicadas duas entrevistas a dois públicos: por um lado foram feitas 15 entrevistas a 15 jogadores do MMOG Travian, por outro foi efectuada uma entrevista à administração do jogo, com o intuito de recolher informações quer de quem joga o jogo, quer de quem o proporciona. As entrevistas foram analisadas com base na análise do conteúdo. Constatou-se que o mecanismo social se sobrepõe à consecução de objectivos por parte dos jogadores e que o mesmo é reconhecido, aproveitado e potenciado pela administração como factor-chave do sucesso do Travian.