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Nineteenth-century Italian ballet mu...

Ertz, Matilda Ann Butkas.

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Nineteenth-century Italian ballet music before national unification: Sources, style, and context.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Nineteenth-century Italian ballet music before national unification: Sources, style, and context./
作者:	Ertz, Matilda Ann Butkas.
面頁冊數:	603 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .
Contained By:	Dissertation Abstracts International72-01A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3435780
ISBN:	9781124342054

Nineteenth-century Italian ballet music before national unification: Sources, style, and context.
Ertz, Matilda Ann Butkas.

Nineteenth-century Italian ballet music before national unification: Sources, style, and context. - 603 p.

Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .

Thesis (Ph.D.)--University of Oregon, 2010.

Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections.

ISBN: 9781124342054Subjects--Topical Terms:

610547
Dance.

Nineteenth-century Italian ballet music before national unification: Sources, style, and context.
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245 1 0 $a Nineteenth-century Italian ballet music before national unification: Sources, style, and context.
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500 $a Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .
500 $a Adviser: Marian Smith.
502 $a Thesis (Ph.D.)--University of Oregon, 2010.
520 $a Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections.
520 $a After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs.
520 $a Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Vigano's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.
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