Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries

This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by C...

Full description

Bibliographic Details
Main Author: Stanek, Mark C.
Other Authors: Reilly, Paul
Format: Others
Published: 2011
Subjects:
Online Access:http://cardinalscholar.bsu.edu/handle/handle/181106
http://liblink.bsu.edu/uhtbin/catkey/1285408
id ndltd-BSU-oai-cardinalscholar.bsu.edu-handle-181106
record_format oai_dc
spelling ndltd-BSU-oai-cardinalscholar.bsu.edu-handle-1811062014-07-23T03:32:34ZGuitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuriesStanek, Mark C.Guitar music -- History and criticism.Opera -- 19th century.Opera -- 20th century.This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument.School of MusicReilly, Paul2011-06-03T19:31:30Z2011-06-03T19:31:30Z20042004v, 224 leaves : music ; 28 cm.LD2489.Z62 2004 .S73http://cardinalscholar.bsu.edu/handle/handle/181106http://liblink.bsu.edu/uhtbin/catkey/1285408Virtual Press
collection NDLTD
format Others
sources NDLTD
topic Guitar music -- History and criticism.
Opera -- 19th century.
Opera -- 20th century.
spellingShingle Guitar music -- History and criticism.
Opera -- 19th century.
Opera -- 20th century.
Stanek, Mark C.
Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries
description This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument. === School of Music
author2 Reilly, Paul
author_facet Reilly, Paul
Stanek, Mark C.
author Stanek, Mark C.
author_sort Stanek, Mark C.
title Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries
title_short Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries
title_full Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries
title_fullStr Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries
title_full_unstemmed Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries
title_sort guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries
publishDate 2011
url http://cardinalscholar.bsu.edu/handle/handle/181106
http://liblink.bsu.edu/uhtbin/catkey/1285408
work_keys_str_mv AT stanekmarkc guitarintheoperaliteratureastudyoftheinstrumentsuseinoperaduringthe19thand20thcenturies
_version_ 1716708909727612928