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首页> 外文学位 >HAYDN'S ARIA FORMS: A STUDY OF THE ARIAS IN THE ITALIAN OPERAS WRITTEN AT ESZTERHAZA, 1766-1783. (VOLUMES I AND II).
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HAYDN'S ARIA FORMS: A STUDY OF THE ARIAS IN THE ITALIAN OPERAS WRITTEN AT ESZTERHAZA, 1766-1783. (VOLUMES I AND II).

机译：HAYDN的ARIA形式：对1766-1783年写在埃斯泰尔哈扎的意大利歌剧中的ARIAS的研究。 （第一和第二卷）。

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摘要

Haydn's operas are less well-known than his instrumental music. Students of these works have traditionally suggested that they are fundamentally undramatic, despite their beautiful music. The first chapter of this dissertation argues that such judgments are premature, since most of Haydn's operas have no performance history, and that they use criteria inappropriately based on Mozart's mature operas.;This dissertation seeks to elucidate the nature of these moments from both musical and dramatic points of view. To that end it is focused on the question of form in the ten Italian operas Haydn wrote at Eszterhaza between 1766 and 1783.;Sonata principles and procedures are crucial to the vast majority of these arias, even to those not in sonata form per se. Chapter 2 presents a brief survey of these forms, while Chapter 3 discusses the formal interactions of vocal music, text, and orchestral ritornellos. The ensuing chapters are devoted to discussion of formal procedures within individual sections of arias, from those sections common to all forms (Chapters 4 and 5) through those found in sonata and binary forms (Chapers 6 and 7) to those found in "through-composed" forms (Chapter 9). Two "case study" chapters (nos. 8 and 10) analyse a few arias in detail, demonstrating the larger formal functions of individual sections and suggesting their possible dramatic effects.;The concluding chapter discusses Haydn's interest in the dramatic possbilities of form as this developed from 1766 to 1783. Sonata and binary forms assume increasingly specific dramatic connotations, while the "through-composed" forms which appear in the later operas allow further dramatic specialization of form. Appendixes present contemporary theoretical descriptions of aria forms and discuss Haydn's cuts.;Like most eighteenth-century operas, Haydn's are primarily built up of juxtaposed moments. The arias form the largest body of such moments; they constitute, on average, 57% of all numbers (secco recitatives excluded). In Mozart's mature operas, on the other hand, the arias represent only 41%.;Volume II includes formal diagrams of all the complete arias by Haydn in the operas studied. These diagrams are new in format, and show the formal interactions of text, vocal music and orchestral music particularly clearly.
机译：海顿的歌剧不如其器乐闻名。传统上，这些作品的学生认为，尽管它们的音乐优美，但它们从根本上讲是虚构的。本文的第一章认为，这样的判断还为时过早，因为海顿的大多数歌剧都没有表演历史，并且基于莫扎特的成熟歌剧，他们不恰当地使用了标准。本论文试图从音乐和戏剧角度来阐明这些瞬间的本质。戏剧性的观点。为此，它着重于海顿（Haydn）在1766至1783年间在埃斯泰尔哈扎（Eszterhaza）写的十部意大利歌剧的形式问题。第2章简要介绍了这些形式，而第3章讨论了声乐，文本和管弦乐ritornellos的形式上的相互作用。接下来的章节专门讨论咏叹调各个部分中的正式程序，从所有形式（第4章和第5章）共有的部分，奏鸣曲和二元形式（第6章和第7章）的共同部分到“贯穿”的部分，组成”表格（第9章）。两个“案例研究”章节（第8和10号）详细分析了一些咏叹调，展示了各个部分的较大形式功能，并暗示了它们可能产生的戏剧性效果。；最后一章讨论了海顿对形式戏剧性可能性的兴趣。索纳塔和二元形式在1766年至1783年间得到发展。索纳塔和二元形式具有越来越特殊的戏剧性内涵，而在后来的歌剧中出现的“直通型”形式则可以使形式进一步戏剧化。附录介绍了咏叹调形式的当代理论描述，并讨论了海顿的切面。与大多数十八世纪的歌剧一样，海顿的主要是并列的瞬间构成的。咏叹调构成了这种时刻的最大主体。平均而言，它们构成所有数字的57％（不含SEC复方）。另一方面，在莫扎特的成熟歌剧中，咏叹调仅占41％。第二卷包括海顿在所研究的戏曲中所有完整咏叹调的形式图。这些图是新格式的，并且特别清楚地显示了文本，声乐和管弦乐的形式上的相互作用。

著录项

  • 作者

    HUNTER, MARY KATHLEEN.;

  • 作者单位

    Cornell University.;

  • 授予单位 Cornell University.;
  • 学科 Music.
  • 学位 Ph.D.
  • 年度 1982
  • 页码 569 p.
  • 总页数 569
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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