study notes

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Published on 3 Feb 2011
School
UTSG
Department
Music
Course
MUS111H1
Professor
Richard wagner (1813-83)
Opera, or rathermusic-drama”, composer
Foregrounds the dramatic principle
Total work of art
-everything subservienet on drama
the purely human, released from all convetion”
casting off of prepared forms of opera (and instrumental music atia and recitative
-the other thing he is aspiring to he wants to cast of these forms in the interest of
creating effective drama
-he sees the late 19th century as the dawn of this real secular world view
-he sees man ascended, the master of his own destiny and he wants drama to
reflect that. That’s what the ring cycle is going to be about. His most ambitious
work
-leitmotif.
-Interwovenness and organic development (technique of integration)
-Orchestra (As chorus) vs. characters
-Dirgetic vs. non-diegetic music
Wagner invents this thing called the light motif, you have a particular melodic figure
attached to a particular person or particular idea.
-a lot of the leitmotif stuff shows up in the orchestra rather than what the
characters themselves are singing.
-Theatrical stage innovation was v important to Wagner.- to create a forum for the
dramatic effects.
-Casta Beethoven as a precursor to himself, to the ‘reunification of the arts
-No.5: triumph of drama
-No. 7:apotheosis of dance!”
-nO. 9:
-The ring of the Nibuleng (complete 1874, first performed in 1876) several years
after founding of German Empire (1871)
-Epic Trilogy with Prelude:
-The fading of the gods (return to nature)
-tHE RISE OF Man,
-purely, human, released from all convention”
-back stage area tremendously larger which means that a tremendous amount of
space dedicated to effect.
-Beginning of Die Walkure
-Storm motif (variation of Watarris)
-Thunder
-Breaking the storm (no division of overtune and act)
-Sigmund’s motif(3:55)
-Sieglinds motif(5:10) (in orchestra, not singers)
-Interweaving of the two
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