Open Access. Powered by Scholars. Published by Universities.®
Articles 1 - 4 of 4
Full-Text Articles in Entire DC Network
The Soul Of Black Opera: W.E.B. Du Bois’S Veil And Double Consciousness In William Grant Still’S Blue Steel, Toiya Lister
The Soul Of Black Opera: W.E.B. Du Bois’S Veil And Double Consciousness In William Grant Still’S Blue Steel, Toiya Lister
Graduate Thesis Collection
In The Souls of Black Folk (1903), W.E.B. Du Bois theorized that black peoples were viewed behind a metaphorical “veil” that consisted of three interrelated aspects: the skin as an indication of African Americans’ difference from their white counterparts, white people’s lack of capacity to see African Americans as Americans, and African Americans’ lack of capacity to see themselves outside of the labels white America has given them. This, according to Du Bois, resulted in the gift and curse of “double consciousness,” the feeling that one’s identity is divided. As African Americans fought for socio-political equality, the reconciliation of these …
Reflections Of The Don: Zerlina's Empowerment Narrative And The Inclusion Of "Per Queste Tue Manine" In Don Giovanni, Sarah Miller
Reflections Of The Don: Zerlina's Empowerment Narrative And The Inclusion Of "Per Queste Tue Manine" In Don Giovanni, Sarah Miller
Graduate Thesis Collection
After the premiere of Don Giovanni in Prague, Wolfgang Amadeus Mozart and Lorenzo Da Ponte brought their opera to Vienna on May 7, 1788. One point of interest in the Viennese version of the score is the added duet “Per queste tue manine.” In this duet, the enraged Zerlina overpowers the bewildered servant Leporello with a handkerchief, a razor, and passion. She constrains the floundering fool and punishes him for his misconduct. In most modern performances, companies look no further than the Prague version of the score. Additionally, singers often portray Zerlina as either a mischievous temptress or a virginal …
Tone Row Partitions In Schoenberg's Moses Und Aron The Volk Partition And The Zwischenspiel Partition, William E. Johnson
Tone Row Partitions In Schoenberg's Moses Und Aron The Volk Partition And The Zwischenspiel Partition, William E. Johnson
Graduate Thesis Collection
Arnold Schoenberg's development of twelve-tone serial ism in the early 20th Century had profound and far-reaching impact on the musical world. As Schoenberg himself grew and matured as a composer, so did the compositional technique of, and indeed his proficiency with, serialism. The opera Moses und Aron was composed in Schoenberg's third compositional period that lasted from 1923 through Schoenberg's death in 1951 and was characterized almost exclusively by this new technique of twelvetone serialism. Moses und Aron's first two Acts (as well as the libretto for the third) were written from 1930 to 1932 and based entirely on a …
The Passion Of Doctor Voke, Luke W. Reese
The Passion Of Doctor Voke, Luke W. Reese
Graduate Thesis Collection
Score of tragic opera