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Characteristics of Italian Opera
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Giacomo Puccini once said, “Art is a kind of illness” (“Giacomo Puccini Quotes”). If that is true, then Puccini must have been one of the sickest artists of all time. Considered one of the best operatic composers of all time, Puccini’s music instills hope and passion into any one who listens to it. Other composers may have this artistic illness too, but never in the contagious way that Puccini’s work infects the musician in each one of us.
Giacomo Puccini (also known as Antonio Domenico Michele Secondo Maria) was born in Lucca on December 22, 1858 to a family with longstanding musical traditions in his hometown (Julian Budden). Considered one of the most successful Italian operatic composers, Puccini began learning music from his uncle Fortunato Magi at the age of five following his father’s death (Budden). His love for music continued well into his teenage years and in 1874, at the age of sixteen, he studied at the Istituto Musicale Pacini with Carlo Angeloni (Budden). Two years later, Puccini attended a performance of Verdi’s Aida and discovered his true love for opera (Budden). He showed so much potential that the Queen of Italy and a relative gave him money to attend the Milan Conservatory (Budden). He was accepted to the school, even though he was ever the age limit and he scored so well on his entrance exams that he was placed into a senior-level composition class (Budden). At the Conservatory, Puccini studied with the famous violinist and composer, Antonio Bazzini; during Bazzini’s tutelage, an inspired Puccini composed a Mendelssohn-esque string quartet that was lost (only one movement survives) (Budden). Upon graduation in 1883, Puccini composed the Capriccio sinfonico, which would later act as the opening theme for his ...
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Wright, Craig M., and Bryan R. Simms. Music in Western Civilization. Boston: Schirmer Cengage Learning, 2010. Print.
Following the second intermission the musicians performed the Puccini which was divided into six sections. Solveig Holmquist was the conductor, Thomas C. Laine was the tenor and James Demler voice was the baritone. The chorus carries the major burden of their music. Thomas C. Laine presented the tenor in Credo, and James Demler presented the baritone in Agnas Dei. This piece also contained fugue and a chorale. Also all the instruments were blended together to produce harmony.
3 & 4. 27 B.C – A.D 68 by unknown artist, but restored by Pacetti Vincenzo
It was an early age when Monteverdi’s career began, he then published his first pieces, and this was based on as a collection of three-voice motets, at the age of fifteen. It was by 1591, when he went to Mantua as a musician for the Gonzaga court, by then he had already published books of “spiritual madrigals” in 1583, then another canzonettas in 1584, by 1587 and 1590 he published his first two books of “madrigals.” It was in Mantua he continued writing madrigals, and then in 1607 he produced his first work in the new genre of opera, the setting was of Orfeo. 1613, he was then appointed maestro di cappella at ST. Mark’s Cathedral which was held in Venice. Monteverdi had remained in Venice for the rest of his life, writing music in all different kinds of genres, including his final opera, “incoronaszione di Poppea in 1642.
Miller, Terry E., Sharhriari, Andrew. World Music: A Global Journey. 3rd ed. New York & London: Routledge, 2012. Print.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
...ts of fever and general ill-health. And in his last ten years in Vienna, the constant need to write commissioned work - for he was the first of the composing freelances, with no regular patrons or court salaries - had worn him down to the point where one bout of fever was sure to finish him off. In July he'd had the anonymous commission to write a Requiem for the Dead; but that had been progressing slowly, because he'd been busy with two operas - La Clemenza di Tito and The Magic Flute - and two cantatas at the same time. Thirty-five years of artistic, social and personal pressure was taking its toll.
Burkholder, Peter J., Donald Jay Grout, Claude V. Palisca. A History of Western Music. New York: W.W. Norton & Company Inc., 2010. Print.
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A history of western music. 8th ed. New York: W. W. Norton, 2010. Print.
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
How would feel if you were in the La Scala opera house, listening to a Vincenzo Bellini operas. Would it be warm felt or just would be nice to be there. To know that there is people out there that can sing with the power and flexibility that they can do. Vincenzo Bellini is one of the many opera composers that the nineteenth century had to offer (The National Opera Center America). Bellini like many of the composers in this time was born in Italy. During the nineteenth century, opera stories most of the time was had a theme of passion and romance. That is one of the reasons that this century is also called Romantic Era.
"Music is a common experience and a large part of societies. In fact, anthropologists note that all human communities at all times and in all places, have engaged in musical behaviours. Music as a mode of human activity is a cultural phenomenon constituting a fundamental social entity as humans create music and create their relationship to music. As cultural phenomeno...
Antonio Vivaldi was born in Venice, Italy in 1678 and he died in Vienna, Austria in 1741. He was trained in music when he was a child, but was later ordained as a priest. He was an Italian Baroque composer and musician. At the time, Baroque Music was considered very fancy and ornamental music. It was a shift from the renaissance music period before which was quite simple music. Vivaldi was a priest in the Roman Catholic Church. He was a great violinist as well as a composer. He wrote quite short, memorable pieces for the time. Physically he had a chest condition that made it hard for him to breath, possibly asthma. He composed many operas, for which he may have been famous during his lifetime, but only twenty-two of these survive. His music is quite complicated with a lot of notes and often quite fast paced. Most of his music was composed for talented musical students at the orphanage where he worked. One of his most famous works is The Four Seasons (https://www.youtube.com/watch?v=GRxofEmo3HA ), played with a smaller string orchestra.
Guido's passion for music and educating the people will continue to be recognized throughout music history. His techniques to mold the minds of young and old to understand a brand new concept will forever be used in the classrooms of future musicians. Guido paved the way for music to be interpreted by all in the simplest way he believed could happen. His dedication to not only fulfilling his duty of training these singers but to future singers and musicians allowed the expansion of music and the growth of musical intuition.
Niccolò Paganini's first known performance was at the church of Saint Filippo Neri on May 26, 1794. After significant progress, Paganini traveled to Parma with his father to study with Alessandro Rolla. To cover the expense of the trip Paganini played a special concert on July 31, 1795. Afte...
Claudio Monteverdi was born (1567¬¬¬¬¬-1643) in Cremona (northern Italy) , and baptized on May 15, 1567; which is relevant, later influencing his career as maestro di cappella (director of music) at the Basilica of San Marco in Venice. Monteverdi was known as the most diverse composer of the Renaissance and Baroque era, because of his mastery in the prima Prattica and Seconda Prattica. Prima Prattica (first practice) refers to the early baroque music of two or more simultaneous voices with equal importance otherwise known as polyphony, and mostly viewed in the style of Palestrina, transitioning into and Seconda Prattica (second practice) a more soloist vocal practice style, virtuosic, and individualized form of music.