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Making America operatic: Six composers' attempts at an American opera, 1910--1918.

机译:使美国更具歌剧性:六位作曲家对美国歌剧的尝试,1910--1918年。

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摘要

This dissertation explores six selected operas written by American composers and librettists from the 1910s, the earliest decade in which this nation supported the widespread and frequent production of operas by native artists. Example works by Charles Wakefield Cadman, Frederick Converse, Henry Hadley, Victor Herbert, Mary Carr Moore, and Arthur Nevin exemplify a shared goal to enact on the operatic stage indigenous stories with American characters, in competition against a field dominated by imported repertoire and singers.;The opening chapter examines the nation's cultural scene at the beginning of the twentieth century, focusing on the position of opera within the broader American music debate. The second chapter outlines the genesis of each project and follows the path of each work leading up to their stage premieres. The central chapters present in-depth analyses of the librettos and musical style of these scores, illustrating the emergence of a distinctively American operatic outlook during the decade. Reception history provides a central point of reference throughout these analytical chapters. The final chapter resumes the narrative of chapter two by highlighting the audience response to the premiere performances and the subsequent production history of these operas following their premieres.;Throughout this study, it is apparent that the Americanist motivation more strongly associated with composers of a younger (and more modernist-leaning) generation was indeed a powerful force, even among tradition-bound composers of the 1910s. Despite their adoption of European-inherited musical styles and operatic conventions, the selected composers and librettists still intensely desired for audiences to receive their works as definitively American creations. Thus, a reassessment of the period's cultural context and a reexamination of the scores themselves yield new insights into an exciting stage in the development of American opera.
机译:本文探讨了1910年代美国作曲家和自由作家撰写的六部精选歌剧,这是该国支持本地艺术家广泛且频繁制作歌剧的最早十年。查尔斯·韦克菲尔德·卡德曼(Charles Wakefield Cadman),弗雷德里克·匡威(Frederick Converse),亨利·哈德利(Henry Hadley),维克多·赫伯特(Victor Herbert),玛丽·卡尔·摩尔(Mary Carr Moore)和亚瑟·内文(Arthur Nevin)的示例作品,彰显了一个共同目标,即在具有美国特色的歌剧舞台上演绎土著故事,以与由进口曲目和歌手主导的领域竞争。;第一章探讨了20世纪初的美国文化景象,重点是歌剧在更广泛的美国音乐辩论中的地位。第二章概述了每个项目的起源,并遵循了每部作品进入舞台首演的道路。中心章节对这些乐谱的歌词和音乐风格进行了深入分析,说明了十年间美国独特的歌剧观的出现。接收历史记录为这些分析章节提供了中心参考。最后一章通过强调观众对首演的反应以及这些歌剧首演之后的制作历史,来恢复第二章的叙述。在整个研究中,很显然,美国主义的动机与年轻作曲家的联系更为紧密。即使是在1910年代受传统约束的作曲家中,(甚至更倾向于现代主义的)一代人的确是一支强大的力量。尽管采用了欧洲继承的音乐风格和歌剧习俗,但入选作曲家和自由主义者仍然强烈希望观众将他们的作品作为美国的原创作品来接受。因此,对这一时期文化背景的重新评估和对乐谱本身的重新审视,为美国歌剧发展的一个令人兴奋的阶段提供了新的见解。

著录项

  • 作者

    Ziegel, Aaron Benjamin.;

  • 作者单位

    University of Illinois at Urbana-Champaign.;

  • 授予单位 University of Illinois at Urbana-Champaign.;
  • 学科 American Studies.;Theater History.;Music.
  • 学位 Ph.D.
  • 年度 2011
  • 页码 423 p.
  • 总页数 423
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:44:51

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