Relevant bibliographies by topics / Zauberflote

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

Academic literature on the topic 'Zauberflote'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Zauberflote"

1

Croissant, Charles, Wolfgang Amadeus Mozart, James Levine, and David Hockney. "Die Zauberflote. Metropolitan Opera." Notes 50, no. 3 (March 1994): 1059. http://dx.doi.org/10.2307/898599.

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Yates, W. E., and Peter Branscombe. "W. A. Mozart: 'Die Zauberflote'." Modern Language Review 88, no. 2 (April 1993): 509. http://dx.doi.org/10.2307/3733866.

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Freyhan, Michael. "Toward the Original Text of Mozart's "Die Zauberflote"." Journal of the American Musicological Society 39, no. 2 (July 1986): 355–80. http://dx.doi.org/10.1525/jams.1986.39.2.03a00050.

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Waldura, Markus. ""Der Zauberflote Zweyter Theil". Musikalische Konzeption einer nicht komponierten Oper." Archiv für Musikwissenschaft 50, no. 4 (1993): 259. http://dx.doi.org/10.2307/930909.

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Fischer, Petra. "Die Rehabilitierung der Sinnlichkeit. Philosophische Implikationen der Figurenkonstellation der "Zauberflote"." Archiv für Musikwissenschaft 50, no. 1 (1993): 1. http://dx.doi.org/10.2307/931145.

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Cole, M. S. "Monostatos and His "Sister": Racial Stereotype in Die Zauberflote and Its Sequel." Opera Quarterly 21, no. 1 (January 1, 2005): 2–26. http://dx.doi.org/10.1093/oq/kbi001.

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Brown, J. K. ""The Monstrous Rights of the Present": Goethe and the Humanity of Die Zauberflote." Opera Quarterly 28, no. 1-2 (March 1, 2012): 5–19. http://dx.doi.org/10.1093/oq/kbs037.

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Lee, H. H. "Papageno Redux: Repetition and the Rewriting of Character in Sequels to Die Zauberflote." Opera Quarterly 28, no. 1-2 (March 1, 2012): 72–87. http://dx.doi.org/10.1093/oq/kbs038.

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Glasow, E. T. "From "Idomeneo" to "Die Zauberflote": A Conductor's Commentary on the Operas of Wolfgang Amadeus Mozart." Opera Quarterly 19, no. 2 (April 1, 2003): 280–84. http://dx.doi.org/10.1093/oq/19.2.280.

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Zech, Christina. ""Ein Mann muss eure Herzen leiten" Zum Frauenbild in Mozarts "Zauberflote" auf musikalischer und literarischer Ebene." Archiv für Musikwissenschaft 52, no. 4 (1995): 279. http://dx.doi.org/10.2307/931162.

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Dissertations / Theses on the topic "Zauberflote"

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Thomson, I. "Mozart's opera Die Zauberflote : an analysis of the historical and literary sources of the libretto." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503064.

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This dissertation contains an analysis of the libretto of Mozart's Die Zauberflote. The analysis was contemplated with apprehension, given that so much has already been written about the opera. But the work was prompted by two factors. Firstly, by a longstanding concern that the libretto contains classical, literary, historical and philosophical references which have not been referred to in previous explanations of the opera. There was a sense in which the opera may have been well documented but perhaps not well understood. Secondly, and consequentially, the study was fuelled by the magnitude of the challenge to understand how these unacknowledged references fit together to create what the librettists considered to be their "purpose". This dissertation, then, develops many new analytical themes and throws fresh light on the purpose of the opera and the methods by which it was developed. Many people have helped me in a variety of ways during this study. I am particularly grateful to my Supervisor, David Chadd, Head of the School of Music at the University of East Anglia (UEA), Norwich, for his constant support and advice, and to my two examiners Professor Julian Rushton at Leeds University and Anthony Gritten at UEA. I am also grateful to Simon Waters at UEA and Ian Biddle (formerly UEA but now at Newcastle University) for their help during an earlier M.Mus. study which unexpectedly led to the research presented here. I am particularly grateful to Edvina Franceschini for her assistance, comments, encouragement and hospitality throughout the period of this study. And I am indebted to Prebendary Michael Moreton, for reading draft text and offering helpful comments on theological and other references, and to Angela Biston for helpfully commenting on several occasions on my draft text. I also wish to acknowledge the help of a number of people on whom I have relied for specific advice on a miscellany of subjects. Their contributions may have been partial, because none were aware of the objectives of my study, but their help was nevertheless important. I am particularly grateful to Anna Plattner and Bettina Kann, Osterreichische Nationalbibliothek, Vienna; Frieder Hepp, Director, KurpJiilzisches Museum, Heidelberg; Clare Rider, The Honourable Society of the Inner Temple, London; Diana Weber, Stadtarchive, Heidelberg; Daniel Pailthorpe, Principal Flautist, English National Opera, London; Cesare Poppi, Deputy Director, The Sainsbury Centre, UEA, Norwich: Joe Taylor, Head Ranger, Sports and Parks Division, City of Coventry; Ineke Fijan, the Erasmus University, Rotterdam; Anne Mitchell, Woburn Abbey; Catherine Baron, Assistant Curator ofthe Royal Collection; Bernhard Overbeck, Bayerische Staatsbibliothek, Munich; Claire Leach, Voltaire Foundation; Sylvia Morris, Shakespeare Memorial Library, Stratford-uponAvon; Richard Palmer, Lambeth Palace Library, London; Lynda McLoed, Sotherby's, London; Mr. Ellis, Astrological Association, London; The Astrology Shop, London; Clive Wilkins-Jones, Norfolk and Norwich Millenium Library, Norwich; Ingrid Lamey, Schwetzingen Castle; Lucia Underhill, Kimbolton School; Omar Samy, Al Ahram Newspaper, Cairo; Ingrid Horning, Utrecht; Julian Roberts; and Jean Rafferty. Finally, I am grateful for the unfailing assistance of countless anonymous staff in many libraries and museums. Staff at The British Library, where necessarily most of my research was undertaken, have been exceptionally helpful. But I have also received considerable help from staff at the UEA library; the Bodleian; the House of Lords Record Office; the Egypt Exploration Society; the National Portrait Gallery Heinz Archive; German Historical Institute, London; London University Library; the Wellcome Library; the Victoria and Albert Museum; the Warburg Institute Library; Christie's Images; Coventry City Library; Warwickshire Records Office; the Ashmolean Museum; Centraalmuseum, Utrecht; the National Maritime Museum; the Historische Museum, Berne; the Offentliche Kunstammlung, Basle; the London Park Lane Mosque Library and the Vatican State Library.
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Meinhold, Günter. "Zauberflöte und Zauberflöten-Rezeption : Studien zu Emanuel Schikaneders Libretto "Die Zauberflöte" und seiner literarischen Rezeption /." Frankfurt am Main : Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb38843045c.

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Jutzi-Fischer, Caroline. "Mozarts Zauberflöte aus der Perspektive betriebswirtschaftlicher Führungstheorien /." [S.l.] : [s.n.], 2005. http://aleph.unisg.ch/hsgscan/hm00142332.pdf.

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Bertozzi, Michela. "Proposta di traduzione dal tedesco di quattro arie dal Singspiel "Die Zauberflöte" di W.A. Mozart." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.

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Nel presente elaborato, si è scelto di addentrarsi nel mondo della traduzione per l'opera. Vengono proposte due traduzioni, rispettivamente una traduzione "cantabile" e una traduzione letteraria, per ciascuna delle quattro arie estratte dal Singspiel "Die Zauberflöte" ("Il Flauto magico") di W.A. Mozart, su libretto di E. Schikaneder. Le traduzioni sono seguite da un commento a motivazione delle scelte traduttive e introdotte da un capitolo dedicato alla traduzione in ambito operistico, nonché da una breve analisi dell'opera in questione, passando per le sue origini e i suoi contenuti.
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Slingting, Allison. "German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3170.

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In this thesis I consider Karl Friedrich Schinkel's The Hall of Stars in the Palace of the Queen of the Night (1813), a set design of Die Zauberflöte (The Magic Flute), in relation to female audiences during a time of Germanic nationalism. Although Schinkel is customarily known as the great modern architect of Germany, his work as a set designer is exceedingly telling of his feelings toward the political and geographical unification of the Germanic regions. Through his set designs, Schinkel successfully used the influential space of the theatre to articulate not only nationalism, but positive female empowerment in his allegorical depiction of woman. However, the popularity of the theatre as an educational tool for women during the early nineteenth-century has remained largely overlooked. Additionally, the evil nature of the Queen of the Night in Emanuel Schikaneder's libretto has made the differentiation of Schinkel's positive figural interpretation essentially unnoticed. Though scholars have addressed Schinkel's aesthetic in terms of nationalism, the incorporation of allegorical women into his work and their responsibilities within this movement remains understudied. This thesis discusses the vision of nationalism as not necessarily an ideology of politics, but rather an ideology of religion and a unified culture. Through the German Romantic notion of the Eternal Feminine and the expanding study of maternal feminism, this thesis discusses the acknowledgement of the encouraging roles of women morally, spiritually, and nationalistically during a significant political time in Germany's history. Additionally, discussion of the theatre as a popular nationalistic institution for education allowed Schinkel's design for Die Zauberflöte to specifically engage and connect female viewers with nationalism. I attempt to show how all of these contextual ideologies were expressed through the allegorical female. Furthermore, in recognition of female viewers through allegory, Schinkel's The Hall of Stars expressed an empowerment of the feminine role within the drive for national unification.
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Rego, Eusiel Silva do. "Fernando Sor e as transcrições Opus 19 para violão de Seis árias escolhidas de A flauta mágica de Mozart: uma abordagem estético-analítica." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-06032013-160229/.

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Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente.
This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.
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Obert, Julie. "Les traductions françaises de Die Entführung aus dem Serail et Die Zauberflöte de W. A. Mozart sur les scènes parisiennes de 1798 à 1954." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2023.

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De la fin du 18e siècle jusqu’au milieu du 20e siècle, la plupart des opéras de Mozart ont été joués en français sur les scènes parisiennes. Condition essentielle aux représentations, la traduction a donc joué un rôle décisif dans la diffusion des œuvres lyriques de Mozart en France. Cette thèse étudie les traductions françaises des deux plus célèbres opéras de Mozart en langue allemande, Die Entführung aus dem Serail und Die Zauberflöte, représentées sur les scènes parisiennes entre 1798 et 1954. S’appuyant sur de nombreuses sources encore inédites, cette étude cherche à comprendre comment les traducteurs affrontent les multiples enjeux que représente la traduction des livrets allemands pour le public français. Loin de n’assurer que le transfert d’une langue à l’autre, les traductions remodèlent sans cesse le livret comme la partition des opéras mozartiens, donnant souvent naissance à des œuvres entièrement nouvelles. En croisant l’approche historique et les méthodes de l’analyse textuelle, il s’agit de mettre en lumière les spécificités de chaque traduction, d’éclairer les choix des traducteurs et d’interroger l’évolution des traductions au fil du temps. En permettant au public français de découvrir et d’entendre les opéras de Mozart, les traductions façonnent la réception française de ces œuvres en même temps qu’elles en témoignent. Ce qui est en cause est tout autant la situation particulière du monde lyrique français et ses rapports avec les pays de langue allemande, que la conception de la traduction et de l’œuvre d’art
The two German operas of Mozart, Die Entführung aus dem Serail and Die Zauberflöte were performed primarily in French from the end of the 18th century until the middle of the 20th century. Cultural conventions and market conditions required that the libretti of German operas be translated into French. In consequence, translation was a vital element in the diffusion of Mozart’s operatic corpus in France. This dissertation is the first to focus on all four sequential translations of Die Entführung aus dem Serail and the five of Die Zauberflöte, performed in Paris between 1798 and 1954. Based on a number of unpublished manuscripts and unknown publications, this scholarly study of the process of translation discloses the transformations of the original works into new versions of Mozart’s operas, not only in the libretti but also in the music. What matters most is to understand how these translations were made and how they evolved over time, as well as exploring the way translators approached the particular difficulties presented by the need to translate texts meant to be sung. What we see is not only a set of changes in the nature of translations, but also a shift in the professional and popular understanding of what constitutes a work of art. Translation both transmitted and framed the meanings of Mozart’s operas at the same time as they made them available to the French musical world. In this context we can see how fruitful it is to braid together musicological research and the insights of literary scholarship in German studies
In Frankreich wurden Mozarts Opern vom Ende des 18. Jahrhunderts bis in die zweite Hälfte des 20. Jahrhunderts hinein in erster Linie auf Französisch aufgeführt. Um kulturellen Konventionen Genüge zu tun und Markttauglichkeit zu sichern, mussten deutsche Opernlibretti ins Französische übertragen werden, damit das Publikum die Werke verstehen konnte. Folglich waren Übersetzungen eine unumgängliche Voraussetzung für die Verbreitung von Mozarts Opernschaffen in Frankreich. Die vorliegende Dissertation untersucht zum ersten Mal alle Übersetzungen der beiden bekanntesten deutschsprachigen Opern Mozarts, Die Entführung aus dem Serail und Die Zauberflöte, die zwischen 1798 und 1954 auf Pariser Bühnen zu hören und zu sehen waren. Die Studie zieht eine Reihe unveröffentlichter Handschriften und in Vergessenheit geratener Veröffentlichungen heran und zeigt, dass die Übersetzer nicht nur am Text, sondern auch an der Musik Veränderungen vornahmen, die die neuen Fassungen gleichsam zu eigenständigen Werken machten. Das vorrangige Ziel der Arbeit besteht darin zu verstehen, wie die jeweilige Gestaltung der Übersetzungen zustande kam, und wie sie sich im Lauf der Zeit entwickelten. Dabei wird nicht nur ein Wandel in der Übersetzungsart festgestellt: vielmehr wird auch sichtbar, dass sich bei den Übersetzern wie beim Publikum die Auffassung verändert von dem, was ein Kunstwerk ist, und wie man mit ihm umgehen sollte. Indem sie Mozarts Opern der französischen Musikwelt zugänglich machten, bestimmten die Übertragungen das Verständnis der Werke mit, so dass sie aufschlussreiche Quellen zur französischen Mozart-Rezeption darstellen. Um diesen Verschiebungen und wechselseitigen Wirkungen nachzugehen, werden die Methoden der Übersetzungskritik mit den Grundlagen historischmusikwissenschaftlicher Forschung zusammengeführt
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Polke, Stefan. "Frimureri og folketeaterelementer i "Die Zauberflöte" : en kritisk analyse af Mozarts og Schikaneders Tryllefløjten og dens placering i civilisationsprocessen omkring W. A. Mozarts og Johann Emanuel Schikaneders levetid /." Roskilde : Roskilde universitetscenter, 1998. http://hdl.handle.net/1800/288.

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Lin, Ying-Chi, and 林盈綺. "Stage Design of《Die Zauberflote》-Stage Design Project." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/10011077608974140287.

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碩士
國立中山大學
劇場藝術學系碩士班
101
Abstract 　　　Creative discourse opera “Die Zauberflöte” (“The Magic Flute”) is my experimental subject, and it represents modern aesthetic style shown in the theater design. This opera contains two acts and 13 scenes, and the stage design target is National Theater. The reason “Die Zauberflöte” has become my subject is because of its vivid story content, distinctive characters, and the stage background of the magical world, which is welcome by all ages. From the aspect of musicology, music style of “Die Zauberflöte” is lively, cheerful, and highly acceptable. Overall, choosing “Die Zauberflöte” giving author more freedom on imagination. 　　The first step was to make sure motivation and purpose, and setting creation target. The second step was to showcase my creative experience. After collecting background information and analyzing content of “Die Zauberflöte”, I decided to use “The Magic Flute” as the basis of this design creation. The last step was to decide the focus of this theater design, and the Repeated Image and serigraphy in 20th century aesthetic style are the creation manifestation used in this work. 　　In this thesis, we intend to reinterpret stage design by using modern aesthetic points of views, and it contains stage deign chart, Creation range includes stage design, stage technical drawings, lighting simulation, apparel design ...etc. We expect the performance and achievement of this work could develop furthermore in the future, and make more modern aesthetic expression fulfilled in theater design.
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Hung, Shin-I., and 洪心怡. "The research on how drama teaching affects junior high school students'' ability of appreciation of opera-take example by W.A.Mozart opera"Die Zauberflote"." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/09534929390620074040.

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碩士
國立臺灣師範大學
音樂研究所
92
For application of the theory of multiple intelligences in art and humanities education, one of the teaching methods is to integrate drama teaching into music teaching. Operas are a comprehensive expression of various kinds of arts. They can be used as the best teaching materials to help students experience the beauty of different arts at the same time. This study probed into the effects of the integration of drama teaching with opera appreciation through discussion of literature, analysis of learning surveys as well as analysis and study of the teaching results of “leading students to appreciate operas through drama teaching”. The purposes of this study were: (1) to understand junior high school students’ attitude toward opera appreciation, (2) to discuss factors affecting students desire for opera appreciation, (3) to investigate into the significance and value of drama teaching in art education, (4) to know junior high school students’ acceptance psychology toward drama teaching and the feasibility of implementing drama teaching in music courses, and (5) to discuss students’ aesthetic perception of the operas through drama teaching In this study, six classes of Yang Min Junior High School, Kaohsiung City were used as subjects. They were divided into three groups: A, B, and C. Group A consisted of one class (the 2nd grade students). All students of the class were responsible for presentation of an opera in a manner of play. Group B included three classes (the 1st grade students). The students of each class were further divided into small groups. Each group was responsible for a small part of an opera and presented the opera in the form of play. Group C consisted of one class of each the 1st grade and the 2nd grade. For group C, teachers made a brief introduction of operas in class. From analysis of the learning surveys and observation in class, the researcher founded that: 1. The effects of “drama teaching” received favorable comments from students. 2. In the aspect of design in drama teaching, the contents of drama teaching for Group B could be regarded as a better design. 3. The drama teaching was able to increase students’ interest in appreciation of operas. 4. The drama teaching could enhance students’ aesthetic ability through appreciation of operas. 5. The drama teaching helped the junior high school students’ to have a further understanding of the stories and characters of the dramas they saw. According to the results of this study, the researcher put forward the following suggestions: 1. To help students develop their active thinking and creative spirit. 2. To pay attention to the creation of a learning atmosphere emphasizing mutual help and cooperation. 3. To assign each group moderate tasks upon implementation of drama teaching. 4. To enhance the maintenance of classroom order. 5. To provide music teachers with opportunities of advanced study and training in the field of performance arts. 6. To increase equipment and resources of the music classroom. 7. To hold large performance activities. From the results of the study on how to lead students to appreciate operas through drama teaching, the researcher worked out a feasible plan for reference in implementing drama teaching and submitted the said suggestions for future studies.
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Books on the topic "Zauberflote"

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Laudon, Hasso. Wunderkind und Zauberflote: Geschichten um Mozart. Berlin: Kinderbuchverlag, 1987.

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Meinhold, Günter. Zauberflöte und Zauberflöten-Rezeption: Studien zu Emanuel Schikaneders Libretto Die Zauberflöte und seiner literarischen Rezeption. Frankfurt am Main: P. Lang, 2001.

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Amadeus, Mozart Wolfgang. Die Zauberflöte. 6th ed. Mainz: Schott, 1988.

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Amadeus, Mozart Wolfgang. Die Zauberflöte: Textbuch, Köln 1794. Köln: Druck- & Verlagshaus Wienand, 1991.

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Mozart: Die Zauberflöte. Kassel: Baerenreiter, 2015.

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Amadeus, Mozart Wolfgang. Die Zauberflöte: Eine grosse Opera in zwey Aufzügen. Linz: Verlag für Literatur, Kunst und Musikalien, 1991.

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Schwind, Moritz von. Moritz von Schwind: Zauberflöte. Wien: Österreichische Galerie Belvedere, 2004.

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W.A. Mozart, die Zauberflöte. Cambridge: Cambridge University Press, 1991.

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Kuckartz, Wilfried. Die Zauberflöte: Märchen und Mysterium. Hamburg: Verlag Dr. Kovač, 1996.

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Branscombe, Peter. W. A. Mozart, Die Zauberflöte. New York, NY: Cambridge University Press, 1993.

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Book chapters on the topic "Zauberflote"

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English, Neil. "Die Zauberflöte." In Patrick Moore's Practical Astronomy Series, 159–76. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-4424-4_9.

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Willaschek, Wolfgang. "Die Zauberflöte." In Mozart Theater, 294–357. Stuttgart: J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-03426-7_6.

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Schweikert, Uwe. "Mozarts »Zauberflöte«." In Erfahrungsraum Oper, 232–41. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04652-9_20.

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Martin, Dieter. "Der Zauberflöte Zweyter Theil." In Goethe Handbuch, 392–407. Stuttgart: J.B. Metzler, 2008. http://dx.doi.org/10.1007/978-3-476-00032-3_30.

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Nieder, Christoph. "Perspektiven der »Romantischen Oper«." In Von der »Zauberflöte« zum »Lohengrin«, 149–59. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_7.

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Nieder, Christoph. "Anhang." In Von der »Zauberflöte« zum »Lohengrin«, 160–80. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_8.

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Nieder, Christoph. "Anmerkungen." In Von der »Zauberflöte« zum »Lohengrin«, 181–252. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_9.

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Nieder, Christoph. "Voraussetzungen." In Von der »Zauberflöte« zum »Lohengrin«, 1–10. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_1.

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Nieder, Christoph. "Oper als dramatische Kunstform." In Von der »Zauberflöte« zum »Lohengrin«, 11–29. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_2.

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10

Nieder, Christoph. "Der Text in der Oper." In Von der »Zauberflöte« zum »Lohengrin«, 30–49. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03292-8_3.

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