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Full-Text Articles in Arts and Humanities
Tonality And Drama In Verdi's "La Traviata", David Bradley Easley
Tonality And Drama In Verdi's "La Traviata", David Bradley Easley
LSU Master's Theses
Scholars hold opposing views concerning the importance of large-scale key relations in Verdi's operas. Julian Budden states that, since Verdi often allowed transpositions of his music in performance, one must take care in assigning structural importance to Verdi's key schemes. Others, including David Lawton, place much significance on Verdi's choice of keys. Lawton describes methods by which Verdi intensifies dramatic situations through associative tonality and recurring musical themes. In La Traviata, several recurring musical themes undergo transposition, a device that Wagner scholar Robert Bailey calls expressive tonality, which is the repetition or recall of a passage transposed by semitone …
Concerto For Orchestra, Alejandro Jose Arguello
Concerto For Orchestra, Alejandro Jose Arguello
LSU Master's Theses
Concerto for Orchestra was written between Fall 2004 and Spring 2005. It is scored for regular orchestra, including piano, harp and celesta. The concerto is written in three separated movements, following the common pattern of the regular solo concerto: Fast-Slow Fast. The purpose of the piece is to create a virtuoso work in which all the instrumental sections have an important and relevant role as if they were soloists. There are three different forms for the movements of the piece. The first movement, Allegro molto, is a modified sonata form. The form of this part is Exposition (A- transition- B- …
Rhetoric, Form, And Sovereignty In Schubert's "Prometheus," D. 674, Erica Brady Angert
Rhetoric, Form, And Sovereignty In Schubert's "Prometheus," D. 674, Erica Brady Angert
LSU Master's Theses
Franz Schubert's "Prometheus," D. 674 (1819), sets a free-verse dramatic monologue by Johann Wolfgang von Goethe in which Prometheus, the Titan who presented fire and hope to mankind, declares himself independent from Zeus. This song belongs to a small group of Schubert's Lieder that resemble scenes from operas more than tonally-closed art songs. The paper discusses some of Schubert's compositional influences in the vocal genre, including Johann Friedrich Reichardt, who composed an earlier setting of the same "Prometheus" text. This paper explores the rhetorical structure of Goethe's text, which follows Quintilian's model for an effective argument, and which Schubert punctuates …