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Articles 1 - 4 of 4
Full-Text Articles in Musicology
Mozart’S Concerto For Piano And Orchestra In B-Flat Major, K. 450: A Performance And Formal Analysis, Yihao Zhou
Mozart’S Concerto For Piano And Orchestra In B-Flat Major, K. 450: A Performance And Formal Analysis, Yihao Zhou
Music Honors Projects
An examination of the formal designs of the three movements that comprise Wolfgang Amadeus Mozart’s Concerto for Piano and Orchestra in B-Flat Major, K. 450, this thesis, along with a performance of the work (April 16, 2016), completes my Honors Project in the Macalester College Music Department. Drawing connections with standard musical forms that had been developed by the late eighteenth century, the formal analysis of K. 450, through a hermeneutic approach, offers a way of understanding the formal aspects of the three concerto movements. Particularly, it reveals that this concerto simultaneously presents the distinction of an individual in the …
Illuminating The Infelice: Defiance And Transcendence In The 19th Century Operatic Madwoman, Claire Biringer
Illuminating The Infelice: Defiance And Transcendence In The 19th Century Operatic Madwoman, Claire Biringer
Music Honors Projects
The female protagonist’s mad scene, since coming into true vogue in the early nineteenth-century Italian opera tradition, has been prized for its dramatic and poignant emotive qualities. This project explores four nineteenth-century mad scenes; Donizetti’s Lucia di Lammermoor (1835), Bellini’s I Puritani (1835), Meyerbeer’s Dinorah (1859), and Verdi’s Macbeth (1847), surveying the literature of each scene and providing formal analysis of musical attributes such as harmony, melodic structure, and formal design, all in comparison to generic operatic conventions. Musical elements generally associated with the operatic madwoman include the orchestral recollection of significant past themes, virtuosic coloratura lines, and the presence …
Illuminating The Infelice: Defiance And Transcendence In The 19th Century Operatic Madwoman, Claire Biringer
Illuminating The Infelice: Defiance And Transcendence In The 19th Century Operatic Madwoman, Claire Biringer
Music Honors Projects
The female protagonist’s mad scene, since coming into true vogue in the early nineteenth-century Italian opera tradition, has been prized for its dramatic and poignant emotive qualities. This project explores four nineteenth-century mad scenes; Donizetti’s Lucia di Lammermoor (1835), Bellini’s I Puritani (1835), Meyerbeer’s Dinorah (1859), and Verdi’s Macbeth (1847), surveying the literature of each scene and providing formal analysis of musical attributes such as harmony, melodic structure, and formal design, all in comparison to generic operatic conventions. Musical elements generally associated with the operatic madwoman include the orchestral recollection of significant past themes, virtuosic coloratura lines, and the presence …
Re-Envisioning Tragedy: A Comparative Analysis Of Gender And Madness In Three Twentieth-Century Operas, Caolfionn Bhreidé Yenney
Re-Envisioning Tragedy: A Comparative Analysis Of Gender And Madness In Three Twentieth-Century Operas, Caolfionn Bhreidé Yenney
Music Honors Projects
This comparative analysis of three twentieth-century operas - Berg's Wozzeck, Britten's Peter Grimes, and Shostakovich's Lady Macbeth of the Mtsensk District - traces their respective discourses of gender and madness, specifically within the dramatization (musical and otherwise) of their title characters. Of the three, Wozzeck, because it adheres to strict gender roles, has been received most uniformly as a tragedy; by contrast Lady Macbeth is traditionally viewed in terms of satire. I argue that feminist musicological analysis allows for a re-envisioning of all three operas, in which the characters are received as tragic regardless of subverting societally …