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Relevant bibliographies by topics / Wagner, Richard (1813-1883)

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Academic literature on the topic 'Wagner, Richard (1813-1883)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Wagner, Richard (1813-1883)"

1

Jones, Mark. "Richard Wagner (1813–1883)." Psychiatric Bulletin 15, no. 2 (February 1991): 98–100. http://dx.doi.org/10.1192/pb.15.2.98.

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Józsa, László. "Pathography of Richard Wagner (1813–1883)." Orvosi Hetilap 154, no. 49 (December 2013): 1962–65. http://dx.doi.org/10.1556/oh.2013.ho2440.

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Gabrijelova, Jarmila. "Antonín Dvořák and Richard Wagner." Muzikologija, no. 6 (2006): 305–16. http://dx.doi.org/10.2298/muz0606305g.

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The essay deals with the relation of prominent Czech composer Anton?n Dvo??k (1841?1904) to the personality and work of Richard Wagner (1813?1883). As opposed to the common opinions linking Dvo??k?s name with Wagner?s ideological opponents and placing his ?Wagnerian? period in the early phase of his career only, our examination shows that Dvo??k?s interest in Wagner and his music was of deep and lasting nature and was significant for him throughout the whole of his life.

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Siopsi, Anastasia. "Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk." Muzikologija, no. 5 (2005): 257–67. http://dx.doi.org/10.2298/muz0505257s.

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The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.

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Göbel, Anna, Carl H. Göbel, and Hartmut Göbel. "Phenotype of migraine headache and migraine aura of Richard Wagner." Cephalalgia 34, no. 12 (March 28, 2014): 1004–11. http://dx.doi.org/10.1177/0333102414527645.

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Background The headache phenotype and neurological symptoms of the German composer Richard Wagner (1813–1883), whose music dramas count towards the most frequently performed operas across the world, are previously undocumented. Methods Richard Wagner’s own descriptions of his headache symptoms in his original writings and letters are investigated, as well as the complete diary records of his second wife, Cosima Wagner. Results There are manifold indications that Richard Wagner suffered from a severe headache disorder, which fulfils most likely the diagnostic criteria of migraine without aura and migraine with aura of ICHD-3 beta. Conclusions Richard Wagner’s life and opus can help to better understand the burden and suffering caused by migraine with its severe effects on the individual, familial and social life, the culture and community.

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Aranda Espinosa, Francisco. "La afirmación incondicional del héroe trágico." MAGOTZI Boletín Científico de Artes del IA 11, no. 22 (July 5, 2023): 56–59. http://dx.doi.org/10.29057/ia.v11i22.10950.

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Para Richard Wagner (1813–1883), como para todos los compositores del período romántico, las sinfonías de Beethoven fueron un claro referente, fuente de la que todos, en su momento, bebieron. Desde que escuchamos los primeros compases de la Obertura del El holandés errante, estrenada en 1843, notaremos una clara evocación de la Novena Sinfonía. No obstante, a través de estas líneas nuestro interés se enfocará en Tannhäuser, ópera del período de madurez de Richard Wagner y la cual trataremos de analizar desde la óptica de la filosofía, y, más en concreto, la idea de lo trágico, siguiendo el pensamiento de Friedrich Nietzsche, aunado a algunos aspectos previos del que fuera su maestro indirecto, Arthur Schopenhauer.

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Llinares, Joan B. "Nietzsche y Brahms." Estudios Nietzsche, no. 2 (December 1, 2002): 49–72. http://dx.doi.org/10.24310/estudiosnieten.vi2.8792.

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A quien se interese por la música en la persona y la obra de Nietzsche (1844-1900) le ha de resultar altamente significativo que el filósofo también mantuviera determinada relación puntual y entrecortada con la música y la persona de quien fue, junto con la revolucionaria y poderosísima personalidad de Richard Wagner (1813-1883), uno de los compositores más relevantes de su tiempo, Johannes Brahms (1833-1897). Este texto trata de servir para que se reconozca y se prosiga esta poco frecuentada pista de la que queremos brindar un mapa de conjunto.

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Camati, Anna Stegh. "Adaptação e intermedialidade: reflexões sobre Macbeth, a ópera coro de Giuseppe Verdi." Revista da Anpoll 1, no. 50 (December 30, 2019): 119–27. http://dx.doi.org/10.18309/anp.v1i50.1318.

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A ópera, uma forma de teatro musical, é a arte da adaptação por excelência, constituída pela integração e fusão de múltiplas linguagens artísticas. A presente pesquisa objetiva refletir sobre a ópera Macbeth (1847-1865), de Giuseppe Verdi (1813-1901), baseada no texto homônimo (1605) de Shakespeare (1564-1616), à luz de perspectivas teóricas de Linda e Michael Hutcheon (2011; 2017), Lars Elleström (2017); Hans Ulrich Gumbrecht (2011) e outras. Assim como Richard Wagner (1813-1883), Verdi foi um dos primeiros compositores preocupados com os aspectos dramáticos e cênicos de suas óperas. São atribuídas a ele diversas inovações, entre elas a formulação do manual da mise-en-scène e a criação de ambiência ou Stimmung. Em relaçãoà ópera Macbeth, Verdi destacou o papel das bruxas por meio de um coro feminino de trinta vozes por acreditar que elas são o elemento propulsor do drama. No início do quarto ato, introduziu o coro dos exilados escoceses com o intuito de expressar seus próprios anseios de liberdade em relação ao movimento de unificação da Itália. As diversas especificidades da ópera verdiana serão discutidas enquanto modelo textual (libreto), composição musical (partitura) e performance dramática (concretização cênica).

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Passos, Mateus Yuri. "O mundo engarrafado e a arqueologia da encenação: gravações audiovisuais como registro de producções operísticas." Comunicação e Sociedade 31 (June 29, 2017): 21–38. http://dx.doi.org/10.17231/comsoc.31(2017).2602.

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Este trabalho se debruça sobre o uso de gravações audiovisuais como documentos para análise de producções de ópera contemporâneas agrupadas pela crítica alemã sob o termo teatro de director [Regietheater]. Nesse conjunto de abordagens, o projeto de obra de arte integral [Gesamtkunstwerk] de Wagner ganha um novo impulso e significado, pois as três dimensões da arte operística – verbal, musical e visual – deixam de trabalhar em conjunto para a mobilização do drama e passam a constituir textos distintos. Neste artigo, discutiremos as limitações da gravação audiovisual para o registro de encenações operísticas de teatro de diretor, assim como recursos de linguagem de montagem fílmica que permitem reconstruir em texto audiovisual essas producções, com soluções por vezes distintas daquelas adotadas em palco. Interessa-nos, sobretudo, problematizar a equivalência que por vezes se estabelece entre uma encenação e sua gravação – especialmente no contexto contemporâneo de produções que realizam alterações frequentes e se caracterizam pelo caráter único de cada performance individual, sempre repleta de eventos singulares, com relativa autonomia em relação ao plano geral de direção. Para isso, discutiremos problemas e soluções da direção de vídeo em gravações audiovisuais de encenações de Der Ring des Nibelungen [O Anel do Nibelungo], de Richard Wagner (1813-1883).

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Passos, Mateus Yuri. "The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions." Comunicação e Sociedade 31 (June 29, 2017): 39–56. http://dx.doi.org/10.17231/comsoc.31(2017).2603.

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This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In director’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are interested above all in problematizing the equivalence that is sometimes established between a staging and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883).

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Dissertations / Theses on the topic "Wagner, Richard (1813-1883)"

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Lundius, Janna. "Richard Wagner, Parsifal." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-172846.

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The purpose of this thesis is to present a context and background to thepractical design aspect of my work. I considered this project to be anexperiential journey in search of a way to make Wagner's Parsifal relevantand interesting in relation to my own life and personal sensibilities. My aimwas to use the music as my guide and my hope was to reach a scenographicsolution by following my intuition. This project has been an important step inmy development as an artist and designer and I feel it has strengthened thebond between my conscious and subconscious mind, giving me theconfidence to trust my feelings and harness them to come up with innovativeinterpretations translated into inventive designs

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Berger, Emile. "Germanic mythology in Richard Wagner's 'Der Ring'." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33873.

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Richard Wagner, in writing the text which would become the libretto of his four operas comprising the Ring was influenced greatly by German Mythology as well as old Norse writings. His main sources are the Volsungensaga, the Thidreksaga and the Nibelungenlied. Certain portions of the Ring follow closely the events described in some of the sagas, other portions have been changed and elaborated to achieve theatrical effect. I have endeavoured to explain the differences between the sources and the finished masterpiece. Whether his version of the tales was to ensure good theatre or whether he felt that he was improving on the originals is a moot point. The similarities are sufficient to prove that he had totally immersed himself in the literature available and no doubt felt himself to be a worthy protagonist of this culture. There is no doubt that his music is a masterpiece which may be enjoyed with or without any depth of knowledge of its origins.

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Linnenbrügger, Jörg. "Richard Wagners "Die Meistersinger Von Nürnberg" : Studien und Materialien zur Entstehungsgeschichte des ersten Aufzugs (1861-1866) /." Göttingen : Vandenhoeck & Ruprecht, 2001. http://catalogue.bnf.fr/ark:/12148/cb388920575.

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Bártek, Michael. "Richard Wagner a varhany." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177695.

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The Czech organist Michael Bártek presents the thesis Richard Wagner and the organ. Penetration of the Work of the Genius from Bayreuth into the Music for Organ as a graduate master thesis in studies on musical faculty of the Academy of Performing Arts in Prague. This thesis concerns itself with the relationship between Richard Wagner and the organ, a relation which is, despite no specific composition from the maestro for organ, surprisingly rich, and which seems thus far unexplored. Considering the impending bicentenary of the composer (and the 130th death anniversary), the theme deserves to be elaborated on. The author reviews the direct relationship of Wagner and the organ, with his influences on composers for organ, as with, for example, the issue of transcription, at first more general, later more focused on Wagner.

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Alexander, Mark Willard. "An historical exploration of Franz Liszt's role preparing, performing, and promoting Richard Wagner's Lohengrin." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008239.

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Straughn, Greg 1972. "Expectation as Narrative Strategy in Richard Wagner's Parsifal." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278358/.

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The story of Parsifal is presented in two manners: through action and through narrative. Using the formalist theories of Vladimir Propp, the overall narrative is articulated in three narrative episodes. This thesis interprets the structure of narrative episodes in Parsifal on the basis of expectation. Propp's theory of functions provides labels for an interpretive analysis. Levi-Strauss' reconstruction of Propp's functions into paired structures identifies key points in the drama as moments of "functional" saturation. This "functional" saturation coincides with Wagner's practice of Leitmotivic saturation. The semiotic theories of Charles Sanders Peirce, specifically his notion of sign, clarify the dense accumulation of meanings accrued by the Leitmotifs. Finally, Parsifal, as a "quest" for the unobtainable object, fits into the matrix of desire as formulated in the theories of Jacques Lacan.

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Trémolières, Guillaume. "L'intériorité dans Tristan et Isolde de Richard Wagner." Lille 3, 2009. http://www.theses.fr/2009LIL30005.

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Tristan et Isolde est une œuvre charnière dans l'histoire de la musique, pourtant, ce n'est pas du seul point de vue harmonique et musical qu'elle marque une étape vers le XXème siècle et la "modernité". La profonde intériorité qui caractérise l'action et les personnages s'inscrit, certes, dans la tradition romantique allemande, mais elle se distingue de ce que l'opéra romantique proposait jusqu'alors. Avec Tristan, l'intériorité trouve une place inédite dans un cadre, l'opéra, qui ne semblait pas la favoriser, et elle relie aussi les conceptions romantiques de l'intériorité et les futures théories psychanalytiques. Le second monologue de Tristan du dernier acte en est la parfaite illustration car le héros, au lieu de simplement exprimer la souffrance de son agonie et de la séparation avec Isolde, se livre à une véritable analyse. Il tente de se comprendre et va jusqu'à remonter à sa naissance traumatisante pour saisir les causes de ses tourments. La crise que traverse Wagner lors de la création de Tristan et sa fascination pour les théories de Schopenhauer sont en partie à l'origine du besoin qu'il a ressenti de se tourner vers l'extérieur, mais pour mieux entrevoir l'intériorité de l'̈œuvre, il est aussi nécessaire de prendre en compte son contexte historique et esthétique. Tout comme les Fleurs du Mal et Madame Bovary, publiés lorsque Wagner entame la composition de l'œuvre, elle est un "regard" sur le romantisme, le désir, l'ivresse amoureuse, la sensualité ; un regard qui non seulement fait le lien entre le premier romantisme et l'esthétisme fin-de-siècle, mais aussi avec la vision nouvelle de l'intériorité qui sera celle de Freud et ses disciples
Tristan und Isolde is a pivotal work in music history, not only because of his innovative harmony and his "modernity", but also because of the deep interiority of both actions and characters - which is close to the German romanticism, and at the same time apart from romantic opera and clearly anticipating the psychoanalytic theories. Thereby, during his second monologue in the third act, Tristan, in a real psychoanalytic way, tries to understand himself and the process that brought him so much suffering, gathering the pieces of his own story and returning to his dramatic birth. After explaining in a first part the notion of interiority, its importance in romantic art and its singularity in Opera, the inner dimensions of Tristan and Isolde's music, text, action and characters will be examined separately, before a more detailed analyse of Tristan's second monologue of the third act. Then, a look on Wagner's life, crisis and fascination for Schopenhauer's philosophy will allow us to understand his need, at the very moment, to turn into the inner life. But to fully understand the nature and place of interiority in Tristan and Isolde, a study of the historic and aesthetic contexts - from 1848's revolutions to the publication of literary masterpieces as Les Fleurs du Mal and Madame Bovary - is necessary, and will precede the last part where links between Tristan and psychoanalysis will be questioned and discussed

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Candoni, Jean-François. "Mythe, politique et histoire dans les oeuvres dramatiques de Richard Wagner entre 1833 et 1850 : la constitution du drame musical." Paris 4, 1996. http://www.theses.fr/1996PA040401.

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La naissance du drame musical wagnérien, conçu en réaction a l'opéra traditionnel, juge décadent, ne peut être comprise sans une étude globale des œuvres de jeunesse de Wagner, constituée pour une part d'œuvres inachevées, la première phase de création du compositeur constitue le laboratoire de sa future reforme de l'opéra. L'analyse de cette période se fait autour de quatre thèmes qui résument les différents voies esthétiques explorées par Wagner : l'opéra romantique allemand, le mouvement jeune Allemagne, le grand opéra français et l'étude du mythe. La réflexion sur ces thèmes montre que le drame musical est avant tout le produit d'intenses échanges culturels européens
The birth of the Wagnerian music drama, conceived in opposition to traditional opera regarded as decadent, is to be viewed through a global study of Wagner’s youth work. Partly made of unfinished works, the first period of the composer's career symbolises his attempts at reforming opera. Four main themes can be found which sum up Wagner’s various aesthetic tendencies, i. E. German romantic opera, "junges Deutschland", French great opera and the study of myth. The analysis of these themes is evidence that Wagnerian music drama is above all the result of intense European cultural exchanges

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Jahn, Jeffry Allen. "Richard Wagner's ''Occasional Works'' for male chorus (1843-1844): Aspects and influences on Wagner's emerging compositional style during the Dresden years (1843-1849)." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185334.

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Richard Wagner was appointed Hofkapellmeister to the Dresden Court in 1841. In conjunction with the duties of his office, he composed four works for male chorus, categorized by him as "occasional works". These works written during the first year-and-a-half of his Dresden tenure demonstrate Wagner's early assimilation of his artistic and philosophical ideals that would culminate in the composition of the opera-cycle, Der Ring des Nibelungen. Wagner's association with the male-voice choral unions of Dresden allowed him opportunity to express and define his compositional goals in his constant quest for a true and pure German art form. The "occasional works" influenced and affected his use of male chorus in the operas Lohengrin, Tannhauser and Die Meistersinger. Wagner, forced to flee Dresden after the May 1849 uprising, no longer had access to the Dresden male-voice choral unions. Consequently, the frequency of male choruses in his operas composed after this time diminishes assuming a different position, both musically and dramatically than in those operas composed prior to and during his Dresden tenure. The "occasional works" demonstrate more than a servial obligation, rather, they encapsulate the very essence of Wagner's compositional thought in a highly condensed and intensely focused form.

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Bassett, Peter Glen. "Playing with Fire: The Pursuit of a Wagner Performance Tradition in Adelaide in the Decade 1995-2005, and Factors Impeding its Realisation." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366689.

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The productions of the Ring in Adelaide in 1998 and 2004 and Parsifal in 2001 were landmarks in Australia’s cultural history. They were artistically successful, attracted considerable commercial benefits to South Australia and generated nationwide expectations of further performances. Yet those expectations went unfulfilled. The success of Adelaide’s Wagner decade had depended on an effective combination of artistic vision, management skills, politics and patronage. This thesis is an analysis of those factors and the extent to which they at first enabled and then jeopardised the dream of an on-going Wagner performance tradition in the South Australian capital. Politics provided the incentive for this venture when the South Australian Government sought to achieve a major ‘cultural tourism’ success in the wake of a major ‘sports tourism’ calamity - the loss of the Australian Formula One Grand Prix to Victoria. The goal of emulating the ‘Wagnerian’ city of Seattle was also embraced at the political level. The General Director of the State Opera of South Australia (SOSA), Bill Gillespie, recommended the hiring of a Paris production of the Ring for restaging in Adelaide in 1998. A dedicated Ring Corporation was established to oversee the production, and the outcome was a notable success. Performances of Parsifal (the first staging of this work in Australia) which followed in 2001, confirmed that the pursuit of a Wagner performance tradition in Adelaide was a viable goal.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Books on the topic "Wagner, Richard (1813-1883)"

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Masino, Luigi Valperga di. Richard Wagner: 1813-1883. Rovereto: Manfrini, 1994.

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Masino, Luigi Valperga di. Richard Wagner: 1813-1883. Rovereto: Manfrini, 1994.

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Hueffer, Francis. Richard Wagner. Cambridge: Cambridge University Press, 2009.

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Kröplin, Karl-Heinz. Richard Wagner, 1813-1883: Eine Chronik. 2nd ed. Leipzig: Deutscher Verlag für Musik, 1985.

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Reinhold, Grimm, and Hermand Jost, eds. Re-reading Wagner. Madison, Wis: Published for Monatshefte [by] the University of Wisconsin Press, 1993.

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Saffle, Michael. Richard Wagner: A research and information guide. 2nd ed. New York: Routledge, 2010.

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Barry, Millington, ed. The New Grove Wagner. New York: Grove, 2002.

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Ernest, Newman. Wagner as man & artist. 2nd ed. New York: Limelight Editions, 1989.

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Simon, Williams. Richard Wagner and festival theatre. Westport, Conn: Greenwood Press, 1994.

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Millington, Barry. Wagner. London: Dent, 1986.

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Book chapters on the topic "Wagner, Richard (1813-1883)"

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Aronson, Arnold. "Richard Wagner (1813–1883)." In Fifty Key Theatre Designers, 51–58. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780429277856-9.

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"Richard Wagner (1813–1883)." In Music Analysis in the Nineteenth Century, 58–68. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511470257.005.

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Phillips, Lois. "Richard Wagner (1813–1883)." In Lieder Line By Line and word for word, 237–42. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198790174.003.0004.

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Abstract When I was very young, I often heard tell of angels, who left the sublime joys of heaven for the sunny earth, where hidden from the world a heart was pining in anxious grief, silently bleeding and wasting away mid floods of tears; its prayer fervently begging only for deliverance. Then an angel would descend and bear it tenderly to Heaven.

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"Richard Wagner (1813-1883)." In Vormärz-Handbuch, edited by Norbert Otto Eke, 960–66. Aisthesis Verlag, 2020. http://dx.doi.org/10.5771/9783849815592-960.

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Millington, Barry. "Life." In The New Grove Guide To Wagner and His Operas, 10–27. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195305883.003.0002.

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Abstract One of the key figures in the history of opera, Wilhelm Richard Wagner was largely responsible for altering its orientation in the 19th century. His programme of artistic reform, though not executed to the last detail, accelerated the trend towards organically conceived, through-composed structures, as well as influencing the development of the orchestra, of a new breed of singer, and of various aspects of theatrical practice. Born in Leipzig on 22 May 1813, he died on 13 February 1883 in Venice.

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