Mozart’s Practice of Freemasonry ideals: A study of Sarastro in Die Zauberflöte/Bass Chun-ying Lo Vocal Recital

碩士 === 東吳大學 === 音樂學系 === 95 === “Die Zauberflöte”, or the Magic Flute, contains a significant characteristic that makes it different from any other masterpieces of Mozart. It does not portray fickle human nature as Le Nozze di Figaro, Don Giovanni and Cosi fan tutte do, nor does it narrate historic...

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Main Authors: Chun-ying Lo, 羅俊穎
Other Authors: Yuring Chiang
Format: Others
Language:zh-TW
Published: 2006
Online Access:http://ndltd.ncl.edu.tw/handle/35167242454271384678
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spelling ndltd-TW-095SCU052480242015-10-13T16:55:43Z http://ndltd.ncl.edu.tw/handle/35167242454271384678 Mozart’s Practice of Freemasonry ideals: A study of Sarastro in Die Zauberflöte/Bass Chun-ying Lo Vocal Recital 莫札特的共濟會理念之實踐─以《魔笛》中「薩拉斯特羅」的詮釋為例/男低音羅俊穎聲樂獨唱會 Chun-ying Lo 羅俊穎 碩士 東吳大學 音樂學系 95 “Die Zauberflöte”, or the Magic Flute, contains a significant characteristic that makes it different from any other masterpieces of Mozart. It does not portray fickle human nature as Le Nozze di Figaro, Don Giovanni and Cosi fan tutte do, nor does it narrate historic events like Idomeneo and La Clemenza di Tito. Not an easy piece to interpret, the Magic Flute is in the form of folk Singspiel whose fairy tale theme unfolds as Freemasonry ideals are introduced. It reaches a higher spiritual realm with rich Masonic implications and elements presented on the opera stage. Some documents have suggested that the character Sarastro be considered the symbol of Ignanz von Born, the spiritual leader of the Freemasonry, and represent the Masonic ideal. This thesis centering on Sarastro attempts to discuss the practice of the philosophy of Freemasonry in the play. It comprises four parts: the outline of background information, the relations between music and language and their symbolic meanings, analysis and interpretation of Sarastro, and conclusion. Recital Programe: 1. F. Gasparini ( 1668- 1727) Lasciar d'amarti 2. G. Pergolesi ( 1710- 1736) Se tu m'ami, se tu sospiri 3. G. Paisiello ( 1740- 1816) Nel cor più non mi sento 4. W.A.Mozart ( 1756- 1791) 2 Arias 1).“ In diesen hei’lgen Hallen” ~ from “ Die Zauberflöte” Act II 2).“ Per questa bella mano” ~ from “ Concert Arias” KV612 5. J. Canteloube ( 1879- 1957) Chants d’Auvergne 1). Brezairola 2). Malurous qu’o uno fenno 6. G. Mahler ( 1860- 1911) Rückert Lieder 1). Ich atmet' einen linden Duft 2). Blicke mir nicht in die Lieder 3). Ich bin der Welt abhanden gekommen 4). Um Mitternacht 7. A. Tcherepnin 齊爾品( 1899-1977) 中國民歌四首 1). 新年 2). 送情郎 3). 小放牛 4). 鋤頭歌 8. G. Gershwin( 1898- 1937) Just another Rumba Yuring Chiang 江玉玲 2006 學位論文 ; thesis 66 zh-TW
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description 碩士 === 東吳大學 === 音樂學系 === 95 === “Die Zauberflöte”, or the Magic Flute, contains a significant characteristic that makes it different from any other masterpieces of Mozart. It does not portray fickle human nature as Le Nozze di Figaro, Don Giovanni and Cosi fan tutte do, nor does it narrate historic events like Idomeneo and La Clemenza di Tito. Not an easy piece to interpret, the Magic Flute is in the form of folk Singspiel whose fairy tale theme unfolds as Freemasonry ideals are introduced. It reaches a higher spiritual realm with rich Masonic implications and elements presented on the opera stage. Some documents have suggested that the character Sarastro be considered the symbol of Ignanz von Born, the spiritual leader of the Freemasonry, and represent the Masonic ideal. This thesis centering on Sarastro attempts to discuss the practice of the philosophy of Freemasonry in the play. It comprises four parts: the outline of background information, the relations between music and language and their symbolic meanings, analysis and interpretation of Sarastro, and conclusion. Recital Programe: 1. F. Gasparini ( 1668- 1727) Lasciar d'amarti 2. G. Pergolesi ( 1710- 1736) Se tu m'ami, se tu sospiri 3. G. Paisiello ( 1740- 1816) Nel cor più non mi sento 4. W.A.Mozart ( 1756- 1791) 2 Arias 1).“ In diesen hei’lgen Hallen” ~ from “ Die Zauberflöte” Act II 2).“ Per questa bella mano” ~ from “ Concert Arias” KV612 5. J. Canteloube ( 1879- 1957) Chants d’Auvergne 1). Brezairola 2). Malurous qu’o uno fenno 6. G. Mahler ( 1860- 1911) Rückert Lieder 1). Ich atmet' einen linden Duft 2). Blicke mir nicht in die Lieder 3). Ich bin der Welt abhanden gekommen 4). Um Mitternacht 7. A. Tcherepnin 齊爾品( 1899-1977) 中國民歌四首 1). 新年 2). 送情郎 3). 小放牛 4). 鋤頭歌 8. G. Gershwin( 1898- 1937) Just another Rumba
author2 Yuring Chiang
author_facet Yuring Chiang
Chun-ying Lo
羅俊穎
author Chun-ying Lo
羅俊穎
spellingShingle Chun-ying Lo
羅俊穎
Mozart’s Practice of Freemasonry ideals: A study of Sarastro in Die Zauberflöte/Bass Chun-ying Lo Vocal Recital
author_sort Chun-ying Lo
title Mozart’s Practice of Freemasonry ideals: A study of Sarastro in Die Zauberflöte/Bass Chun-ying Lo Vocal Recital
title_short Mozart’s Practice of Freemasonry ideals: A study of Sarastro in Die Zauberflöte/Bass Chun-ying Lo Vocal Recital
title_full Mozart’s Practice of Freemasonry ideals: A study of Sarastro in Die Zauberflöte/Bass Chun-ying Lo Vocal Recital
title_fullStr Mozart’s Practice of Freemasonry ideals: A study of Sarastro in Die Zauberflöte/Bass Chun-ying Lo Vocal Recital
title_full_unstemmed Mozart’s Practice of Freemasonry ideals: A study of Sarastro in Die Zauberflöte/Bass Chun-ying Lo Vocal Recital
title_sort mozart’s practice of freemasonry ideals: a study of sarastro in die zauberflöte/bass chun-ying lo vocal recital
publishDate 2006
url http://ndltd.ncl.edu.tw/handle/35167242454271384678
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