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Articles 1 - 5 of 5
Full-Text Articles in Arts and Humanities
Musical Introductions To Cavalleria Rusticana: Giuseppe Perrotta's "Bozzetto Sinfonico" And Pietro Mascagni's "Preludio", Ronaldo Augusto Teles Dos Santos
Musical Introductions To Cavalleria Rusticana: Giuseppe Perrotta's "Bozzetto Sinfonico" And Pietro Mascagni's "Preludio", Ronaldo Augusto Teles Dos Santos
LSU Doctoral Dissertations
Giovanni Verga’s Cavalleria rusticana has inspired a variety of musical works, among them Giuseppe Perrotta’s “Bozzetto sinfonico” (an overture to Verga’s play), and Pietro Mascagni’s Cavalleria rusticana (a one-act opera based on a libretto by Giovanni Targioni-Tozzetti and Guido Menasci). Each composition represents a genre on which scholarship is scarce: late nineteenth-century incidental music and the late nineteenth-century operatic prelude. Considering both Perrotta’s “Bozzetto sinfonico” and Mascagni’s “Preludio” as musical introductions to stage works, this study undertakes a complete hermeneutic analysis of both works (chapters 2 and 3). The analysis of Perrotta’s “Bozzetto sinfonico” is guided by a letter in …
The Handmaiden Of Gnosis: Music In Esoteric Societies, Justin Andrew Owen
The Handmaiden Of Gnosis: Music In Esoteric Societies, Justin Andrew Owen
LSU Doctoral Dissertations
Western esotericism, or the practice of trying to understand divinity through secret initiatic means, exists in several philosophical strains, which mystics through the ages have formalized into systems of teaching. One aspect that appears in many of the traditions is music. Music is a direct language of the consciousness within esoteric traditions because it does not rely on language to express higher concepts. Just as these societies teach truths mainly through symbolism, they use music, since it lends itself to interpretations beyond the connotation-laden nature of words. This dissertation focuses on three major strains of western esotericism: Rosicrucians, Theosophists, and …
Evolving Performance Practice Of Debussy's Piano Preludes, Vivian Buchanan
Evolving Performance Practice Of Debussy's Piano Preludes, Vivian Buchanan
LSU Master's Theses
Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom. Interestingly, many of the interpretive gestures that Debussy employs in these recordings are consistent with playing techniques utilized by French Baroque keyboardists. This paper will situate Debussy’s own performance in this Baroque playing style. I will first discuss the recording technology used by Welte-Mignon to establish the reliability of these recordings. By studying harpsichord manuals, I will …
Homenajes: Finding Spanish Identity In Falla's Orchestral Suite, Leanny Munoz
Homenajes: Finding Spanish Identity In Falla's Orchestral Suite, Leanny Munoz
LSU Master's Theses
Using biographical criticism, this thesis examines Manuel de Falla’s Homenajes (1939) as a reflection of the composer’s views of Spanish identity on regional, national, and international levels. Falla completed Homenajes—a four-movement orchestral suite dedicated to Enrique Fernández Arbós, Claude Debussy, Paul Dukas, and Felipe Pedrell—in Argentina. He began the work in Spain in 1938, during a period of great personal and political disturbance. In 1939, Manuel de Falla left Spain following the end of the Spanish Civil War, which cemented the regime of Francisco Franco. The Francoist regime notoriously aimed to homogenize Spanishness within the country, in part by …
A Rhythmic Transcription And Spectral Analysis Of Luciano Berio's Thema (Omaggio A Joyce), Christopher C. Mccardle
A Rhythmic Transcription And Spectral Analysis Of Luciano Berio's Thema (Omaggio A Joyce), Christopher C. Mccardle
LSU Doctoral Dissertations
Thema (Omaggio A Joyce), composed by Luciano Berio resides within a tempo of 80 beats per minute. The discovery of a constant tempo allowed for a precise rhythmic transcription to be created which found musical structures including large formal sections, subsections, phrases, rhythmic and melodic motives, layers, and dialogue. Analysis of the rhythmic phrases shows that electroacoustic music can have a controlled structure and that these structures earned Thema an enduring legacy of masterpiece. The transcription provides a road-map to compare and contrast different elements that reoccur throughout Thema. The work was composed with a well thought-out and …