16 Articles | EssayIvy.com

Surname 1

Student’s Name

Professor

Course

Date (Day, Month, Year)

First Article: Everist

i. Include the topic & its historical context

The context is on French grand opera that included divertissement that exhibited a symbolic

relationship to dance between years 1806 -1864.

ii. Identify the central research problem/question the musicologist attempts to

answer/solve

To find out the gaps or solutions made to fill up the gap in paring ballet-pantomime with

opera leading to a new genre petit opera.

iii. Outline the main claim/answer/solution

Of the 158 performance given at the opera in the year 1817, 45 were dedicated to opera alone

while 113 consisted of both opera and ballet-pantomime.

iv. Outline the main supporting reasons

In Nov 1817, three-quarters of the evenings were dedicated to opera exclusively while only a

quarter-included ballot pantomime.

In the first half of the nineteenth century, the evenings were filled with five acts where three

were made of opera and two-act ballet. Where this led to what is called the grand opera

incorporated with dance costume and scenery and comic plot.

v. Identify the categories of primary sources used as supporting evidence

Because of the length, and choreographed divertissements, and complexities of staging, five

grand opera held the stage alone and were never pared with ballet.

vi. List the primary scholars with whom this author's works intersect

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Gluck`s Armide, Salieri, Mozart, Rossini, Boiledeus`s Jean de Paris and Donizetti

vii. Reflection

The author assumes that the information given is sufficient and one that won`t trigger further

research. I can recommend the article for the opera lover’s scholarly research.

Second Article: Huebner

i. Include the topic & its historical context

The context is on Jules Massenet who began extended work of Wertha in the period of1885-

1887 due to his admiration for Wagner’s work.

ii. Identify the central research problem/question the musicologist attempts to

answer/solve

To provide evidence for admiration that Masset had for Wager`s operatic music in early

1883.

iii. Outline the main claim/answer/solution

Composers should not entirely look for development of plots incorporated with unending

twists but rather a simple storyline embedded with passion.

iv. Outline the main supporting reasons

Massenet extended work on Wertha focused on the action between soprano and tenor with

avoidance of ensemble singing.

v. Identify the categories of primary sources used as supporting evidence

Use of musical projections or redemption in Massenet work. For instance, when Charlotte

rushes to Wertha after she had shot himself, this final moment of the play leads her to confess

her love. The mood in the air was transformed to suffering and saving grace.

The harmonic progression is incorporated between C minor and G minor chords where music

finally settles upon the dormant harmony. Massenet managed to take `system` Wagnerian and

blended it into simplicity and clarity into a property of French genius.

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vi. List the primary scholars with whom this author's works intersect

Robert Bailey, Victor Wilder, Camille Bellaigue and Malherbe

vii. Reflection

The chronological event explained by the author on the extended work of Massenet on

Wertha is well researched and documented by the author. It’s a good source to learn the

influence Wagner’s work had on Massenet`s composition of opera.

Third Article: Parakilas

i. Include the topic & its historical context

The context is about Carmen opera by Henri Meilhac, first produced in the year 1875 and is

integrated with dramatic structure, contemporary setting and tragic ending derived from a

literary source Merimee.

ii. Identify the central research problem/question the musicologist attempts to

answer/solve

Outline the use of Carmen theme during the colonial time where the period was filled with

European imperialism, but its theme is non-essential today.

To find out the adoption of the theme in the (1904) in regard to the European Puccini`s

Madama Butterfly and Victor Herbert`s Natoma (1911).

iii. Outline the main claim/answer/solution

Carmen theme, which is currently viewed as cliché, was back then, during the European

colonial time, adopted to express the differences that existed in race and nationality and was

incorporated with musical exoticism.

iv. Outline the main supporting reasons

Turkish opera - Mozart`s Die Entfilbrug Aus dem seria was a reverse of Carmen theme in

many aspects. For instance, in European, the leading figure is symbolized by a male character

while in Turkish opera, the representation is a woman and portrayed as powerless.

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In Turkish opera, characters are distinguished on religious basis and differences in customs

practices and not by differences in the race as seen in the European opera.

Carmen's theme depicts Europeans as colonizers and occupiers who use force to threaten and

rule lives of people unlike in Turkish as the use of comic to bring about differences in

religious themes.

New opera uses less of musical exoticism as compared to its large usage in the Carmen opera.

v. Identify the categories of primary sources used as supporting evidence

In the western audience, the exoticism theme of a woman is on characterization and

dramatization while later opera such as the Madama Butterfly portrays the exotic woman on

her terms to either adopt the soldier`s culture or can decide to run away from the culture and

the control it exerts over hers.

The themes from the soldier and the exotic are flourishing today, for instance in the

Hollywood movie, Dances with Wolves. However, the theme is twisted as it is in the movie,

the soldier is assimilated into the exotic culture.

vi. List the primary scholars with whom this author's works intersect

Victor Herbert`s Natoma, Fredrick Converse`s The sacrifice and Charles Wakefield

Cadman`s The Robin Woman.

vii. Reflection: The article is an amazing source of learning both for educational and research

purposes. The musical exoticism in the Carmen during the European is well documented, and

the gradual changes and difference in the new operatic theme provided in work show the in-

depth knowledge that the author has towards the subject.

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Fourth Article: Hadlock

I. Include the topic & its historical context

The context is on the musical tales of E.T.A Hoffman`s tales- `Rate Krespel` (1818)

reflecting the attitude towards women`s performance., their lovely voices and how they

manage to make the performance desirable.

II. Identify the central research problem/question the musicologist attempts to

answer/solve

To find out how the potent voices in female performance manage to command women

authority and arise romantic imagination.

How prima Donna`s voice repeatedly make itself heard in the midst of the turbulent noise.

III. Outline the main claim/answer/solution

Mystical triangle connects the composer, singer, and the auditor. The singer manages to

embody the spirit of the composer and making it its romantic essence.

The throat of the female singers such as Donna Anna in the ` Don Juan` serves as the

conduit for music, and through the sound of their singing voices, impressed the males.

Power singing of the imaginary singers opened themselves to a transcendent realm and an

artistic, quasi-demonic possession.

IV. Outline the main supporting reasons

The idealized singers are presented as musical instruments where music comes through them

and not just from them. In addition, Antonia`s voice had a peculiar timbre similar to that of

an Aeolian harp. Moreover, passivity for the instruments to resonate through her breath and

the passion for the performance by the singer made the performance desirable.

V. Identify the categories of primary sources used as supporting evidence

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Antonia sings herself to death in the tale of musical apotheosis where the Cremona crack is

buried with her similar to the happening in `Kreisleriana,` here the dead woman is found next

to the remains of her lover`s lute.

VI. List the primary scholars with whom this author's works intersect

German folklore- Heine`s De l`Allemagne, Adolphe Adam`s Giselle and Charles Nuitter.

VII. Reflection

The author shows in-depth knowledge of the topic and explanation of the operative diva

singing through an excerpt from the `Rat Krespel.` It is a good operatic piece that I would

recommend to anyone who wants to learn on the power of heavenly female voice, magic and

romantic operatic performance and how the singers manage to pull the image off from the

stage.

Fifth Article: Rothstein

I. Include the topic & its historical context

The context is on the operas of Vincenzo Bellini (1801-35).

II. Identify the central research problem/question the musicologist attempts to

answer/solve

Musical analysis of Vincenzo Bellini`s opera and the reason for this analysis.

III. Outline the main claim/answer/solution

Bellini is an important composer; innovator compared to Schubert and techniques in his

operas has spread over Europe and successors for years hence need for his musical analysis.

IV. Outline the main supporting reasons

The first substantial; book on Bellini`s musical style was Lippmann’s dissertation.

Lippmann`s analysis focuses on melody, rhythm and building blocks construction of arias

and duets.

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Bellini enjoyed copyright protection of his operas, and his opera was established by Beatrice

di tends, and his autographs were used as performance materials.

V. Identify the categories of primary sources used as supporting evidence

The first musical unit in the 19

century was `number` and commonly called introduzi-one:

Aris, duet. The length of the operatic was expanded enormously, for instance, Norma had five

in act one, three in act two, ten in act three and many more.

Use of typical division of numbers in opera where these divisions were standardized wherein

Beilein's day, Cantabile is the first tonality, which begins and ends with the same key.

The inclusion of recitations in the musical opera but the degree was not clear. In addition,

foreground techniques included unaccompanied cadences, a mixture of the relative keys,

avoiding of the leading role in minor and element of the supplenti.

Local techniques used include senorita, bait and switch dominant.

VI. List the primary scholars with whom this author's works intersect

Monteverdi, Giuseppe Verdi, Donizetti, Wagner, Nicholas Baragwanath, Charles Rosen,

VII. Reflection

The author shows a deep understanding of the subject. The article is a great piece that can be

a great source for an educational or scholarly source for analysis of the Bellini musicals and

operatic characteristics.

Sixth Article: Poriss

I. Include the topic & its historical context

The context on aria substitution on the mad scene from after the premiere of Lucia di

Lammermoor in 1835.

II. Identify the central research problem/question the musicologist attempts to

answer/solve

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Explore of the alterations made to the mad scene: Sopranos performed the rondo-finale,

Fausta in place of the ` mad scene,` thus look carefully at the origin of the alterations,

experiences of these changes, and the reason why the substitution lasted only for a short

period.

III. Outline the main claim/answer/solution

The soprano and tenor roles had been altered according to the array of talents and styles of

the huge number of singers who had played Lucia and Edgardo. In addition, many individual

numbers had been transcribed and excerpted for diverse combinations of the instruments.

IV. Outline the main supporting reasons

There were massive cuts, additions, and substitutions in the production performed upon

Lucia`s score.

V. Identify the categories of primary sources used as supporting evidence

In the fate of the tower, scene (111, 1), where Enrico challenges Lucia’s marriage to Arturo

and challenges despondent Edgardo to a duel.-is Illustrative. The scene perceived as a duet

and one of the most dramatic and musical actions in the opera. The vocal vaccination by the

women singers spread all over the second half of the century, but the scene lost much of its

appeal. In addition, the Edgardo beautiful aria final was also affected.

Soprano substituted aria in the scenes

VI. List the primary scholars with whom this author's works intersect

Rossini, Donizetti, and Bellini.

VII. Reflection

The article is an exciting piece to read. The author assumes the information given on the

changes made to the Lucia di Lammermoor, are enough, and that wo n`t trigger further

research. It is an excellent piece to further research on the substitutions, omission and the

additions made to the mad scene in the Lucia di Lammermoor.

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Seventh Article: Horowitz

I.Include the topic & its historical context

The context is about the cultural and intellectual movement and the history of the new

American Woman. Wagner`s women were eroded personal identity in the ninetieth century.

II.Identify the central research problem/question the musicologist attempts to answer

To explore the historical practices in the nineteenth century that eroded personal identity,

especially in women and the impact of Wagner`s opera on them.

III.Outline the main claim/answer/solution

Wagner`s opera rekindled sparks of love and faithfulness in the midst of the oppression that

women were experiencing. Wagner`s opera gave these women some distinct outline and

substance to their miserable lives.

IV.Outline the main supporting reasons

Wagner`s women were oppressed and were driven to flaunt convention. In addition, their

husbands were brute, denied right to express themselves on the sexual needs, expected to

wear corsets to deny their sexual urges,

V.Identify the categories of primary sources used as supporting evidence

In the `Flying Dutchman,` Senta is regarded as odd and unruly, Erik, who loves her is a

dullard, and her father who is materialistic fails to understand her.

In the Tannhauser takes on the same mold. Fricka and Isolde are victimized by unsuitable

potential spouses. .In addition, Sieglinde, who was abandoned by her father, has a cruel

husband.

Wagner uses Kundry to explore on a woman who is exposed, heightened and used as a

submissive servant.

VI.List the primary scholars with whom this author's works intersect

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Siegmund, Chopin and Willer Cather, Claire Benedict, Seward Chamberlain, George

Bernard, Carey Thomas and Marry Garret.

VII.Reflection: The author explores on Wagner`s work in the ninetieth century which was

significant in bringing new light to the American woman. The article is a good source to

explore the history of feminism, oppression and the identities that women were eroded and

how Wagner`s opera offered audience passion and sensuality.

Eighth Article: Greenwald

I.Include the topic & its historical context

The context is on Arthur Groos works on Japanese elements ranging from the house, screen,

and ceremony found in the Puccini`s Madama Butterfly.

II.Identify the central research problem/question the musicologist attempts to answer

Discuss the issues of authenticity pertaining to the stage setting of the Madama Butterfly,

beyond the kimonos, parasols and cherry blossoms. In addition, explore on the pseudo -

Japanese elements in the opera.

III.Outline the main claim/answer/solution

Elements and values such as floral sprays, butterflies, herons, bamboo, and canes were

included in the Madama Butterfly which reflected Japanese arts.

IV.Outline the main supporting reasons

The character focus and visual scenarios prove orientalist opera integrated with `Japanese`

elements. There is also the existence of cultural analogs supporting the opera being authentic.

The focus is on the Japanese house as the center of life particularly to women, the Butterfly`

Vigil` scene in the home-based environment and the screen.

V.Identify the categories of primary sources used as supporting evidence

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The opening scene of the opera is in the courtyard and garden of the Japanese palace, a home.

The house is furnished in the fashion of fin-de-siecle with Japanese artifacts. The house thus

became a central focal point of the stage set.

The practice of Japonisme. This practice was through the use of Japanese arts, pictures,

paintings, furniture, and textiles. In addition, a visual representation of pagoda Japonais

through wooden pillars, brackets, papers lanterns that are hanging.

The house was a single set and the interior of the CIO-CIO house which is authentically

designed in the Japanese way.

VI.List the primary scholars with whom this author's works intersect

Saint Saene`s La Princess Jaune, Gilbert, and Sullivan, Sidney Jones, John Luther Long,

Puccini,

VII.Reflection:

It`s an interesting article to read. The author has extensive knowledge on the subject matter

and manages to explore the values and issues in the Madama butterfly opera that corresponds

to the Geish culture.

Ninth Article: Atlas

I.Include the topic & its historical context

The context is on Allan Atlas article `Crossed stores and Crossed Total areas in the Puccini`s

Madama Butterfly` in 1990.

II.Identify the central research problem/question the musicologist attempts to answer

To analyze opera and offer comments on the Allan Atlas article `Crossed stores and Crossed

Total areas in the Puccini`s Madama Butterfly.`

III.Outline the main claim/answer/solution

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One of the important musical –dramatic features in the Madama Butterfly, is that the cross-

purposes to and to with which the Butterfly and Pinkerton act, find a musical parallel in the…

the…lover s` crossed tonal areas.

IV.Outline the main supporting reasons

In the Puccini`s Madama Butterfly, the two keys, G major and A major, there exists

contradictory semantic associations for Pinkerton., and with the new key and reversed for

Butterfly.

The two tonalities offer two contradicting semantic burdens and locating this process in the

crux of the drama.

V.Identify the categories of primary sources used as supporting evidence

Atlas identifies that the Ghostly on G` has a traid shimmering across the opera that manages

to express the drama in a nutshell exclusively. This is supported across the acts account of

Tosca whereby the tritone interval in the tonalities of Cavaradossi`s acts 1 and 111 arias ( F

major and B major respectively) and complimenting the B` Triton of the Scarpia motive at

the beginning of the opera.

The exists tonal schemes that play a crucial role in governing the opera.

VI.List the primary scholars with whom this author's works intersect

Carolyn Abbate, and Arthur Groos

VII.Reflection:

The author offers an in-depth analysis and information about the tonal areas in the Puccini`s

Madama Butterfly. The language used is somewhat hard. Good knowledge of musical keys

and tonal variations is necessary to understand the author`s points and arguments.

Tenth Article: Groos

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I.Include the topic & its historical context

The context is on the tuberculosis disease and discovery of tuberculosis bacillus in 1882 by

Robert Koch and its coincidence in literacy and operatic history.

II.Identify the central research problem/question the musicologist attempts to answer

To survey on how consumption is represented in medical literature and fiction, especially in

the Duma Fil`s la Dame aux Camellias. In addition, trace the extent by which Piave and

Verdi discourse the diseases and manages to represent it both verbally and musically in La

Traviata.

III.Outline the main claim/answer/solution

In the mid-nineteenth century, tuberculosis or consumption remained the leading cause of

death, which was considered a disease of the young, and those of lower socio-economic

classes crowed in the urban centers. Symptoms of the disease were among others, rapid pulse,

chest pains, color on the lips, `thinness` caused by easily wasting away and sweating at night.

IV.Outline the main supporting reasons

In the Dumas fil`s la Dame aux camellias. Armand Duval hears from prudence about the

symptoms of the disease mainly hectic fever, and during dinner, Armand experiences the

same specifications earlier described

V.Identify the categories of primary sources used as supporting evidence

In literary representation, in the Murger`s Scenes de la vie de Boheme, Francine (Mimi) is

urged because of the predicament of the illness to taste love before it is too late. The death of

the consumptive led to literary and musical representation.

Medical literature gives it a different description and comparisons such as; extinguishing of a

lamp, victim ` fall asleep,` or `thin thread` breaks.

Piave`s and Verdi representation of Violeta Valery in La Traviata follows the general theme

of Dumas fils play, with some deletions and condensations that was essential in transposing

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drama into an opera. Violeta’s consumption constructs a relationship between love and

disease that both manage to be revealed in the opera.

VI.List the primary scholars with whom this author's works intersect

Henry Murger, Robert Koch, Thomas Bartlett, Edwin Colby and Johns Hopkins

VII.Reflection: The author manages to document the predicament of tuberculosis and giving

insightful information about the cause and effect. It is a good medical literature and can be

used as a good literary source for further research.

Eleventh Article: Edge Combe

I.Include the topic & its historical context

The context is on the liturgical forms incorporated on the stage, music and textual

conventions in them and the pagan forms that persisted on stage in the 19

century.

II.Identify the central research problem/question the musicologist attempts to answer

Analyze the textual and musical conventions of prayer and use neoclassical preghiere to

address the pagan form of prayer that persisted on the stage of the primo ottocento.

III.Outline the main claim/answer/solution

The practices of the stage were similar to those of the Catholic avatars even though they

varied in their gravity and intimacy.

IV.Outline the main supporting reasons

Obstestacio which was a kind of a solemn prayer offered up by the people and evoked the

gods as they key witness to the covenant is found in the operatic locus classicus with a

chamber version found in act 2 between hero and villain from Verdi`s Otello.

The opera has activities of blessing and cursing, specialized intercessory prayers,

V.Identify the categories of primary sources used as supporting evidence

Marquis of Calatrava administers `chamber ` blessings to the leonara. This happens at the

start of la Forza del Destino.

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Horace`s tenth epode has exsecratio, an private kind of cursing.

In Episode 10, in admastor ballade of L`Africaine and Les Huguenots, Saint Bris curses the

enemies of the state and the church.

Operatic scenes and self-cursing of Paolo in the 1881 revision of Simon Boccanegra.

There is the conventional opposition of the pagan grace and duor Christian militarism in the

act of Les Huguenots

VI.List the primary scholars with whom this author's works intersect

Glucks`s Iphigenie, en Tauride, and Verdi`s Otello

VII.Reflection:

The article evokes various modes of prayers and musical procedures they have evoked from

prayers. The author uses a simple and easy to understand language. The article can be used

as an educative source of evidence.

Twelfth Article: Smart

I.Include the topic & its historical context

The context is on the musical role and operatic significance in the 19

century in relation to

the events that took place in the city that saw displaced literacy and political figures driven

out of Italy after unsuccessful revolutions in 1831.

II.Identify the central research problem/question the musicologist attempts to answer

To explore the musical culture of the 1830`s, created by Italian exiles and residences in Paris,

a community that was lionized by Raffaello Babiera.

III.Outline the main claim/answer/solution

The musicologists played a key role in criticizing the assassinations and oppression by the

authorities and calls for liberty, which sparked public demonstrations.

IV.Outline the main supporting reasons

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Private networks and intimate performance venues operated as the meeting point for people

to express their opinions, sites for social bonding and offered a platform to display new

images of the nation.

V.Identify the categories of primary sources used as supporting evidence

There was the formation of Mazzini secret society which`Giovana Italia` whose members

played a vital role in the in the revolutionary movement against the French oppression.

Pepoli, Molarchini, Vaccai, Bellini incorporates the same idea that music and poetry arose

feeling and provoke actions, as expressed in the `Liberty song.`

VI.List the primary scholars with whom this author's works intersect

Donizetti`s Marino Faliero, Bellini`s I Puritani, Giuseppe Mazzini, Verdi

VII.Reflection:

The article documents the events that took back during the revolution in Italy in the 19

century and successfully explains the role of music during this heightened political time.

More research is needed to explore the events that took place during this political period I

Italy.

Thirteenth Article: Abbate

i. Include the topic & its historical context

The concept is on ineffability of music, sonic mystery and its apparitional quality capable of

stirring mental flight explored from Chekhov`s The cherry orchard, 1902.

ii. Identify the central research problem/question the musicologist attempts to

answer/solve

To draw various aspects Chekhov`s sound dying, the ineffability of disembodied sounds and

Jankelevitch `s writings on music and drama. In addition, the inherent reflection of the sound

effect and how its traversing may cause musical forms particularly from the Debussy`s

Pelleas et Melisande.

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iii. Outline the main claim/answer/solution

In the Cherry Orchard, for instance, in Act 11, a distance sound rings, the sound of a broken

string, dying away and nobody seems to understand the origin of the sound. The exegeses of

the broken strings sounds have varying meanings to people.

iv. Outline the main supporting reasons

The invisibility of the music caused the listener to concentrate on the morphology of sounds

rather than their origin thus creating a master voice.

v. Identify the categories of primary sources used as supporting evidence

The Pythagoras who is a visual motif, where one of the cults of disciples listened surrounding

the great mathematician listened to him teach behind a curtained arras that helped them to

focus their thoughts on the content of the speech. Pythagoras’s curtain expressed a hoary

truism and was recycled in the twentieth-century movies, for instance, the God`s voice in the

ten commandments.

Debussy located the staging grounds in collisions between text and music. Paradoxes like

Jankelevitch`s absent omnipresent and explaining music from everywhere and nowhere led to

the acoustic origin, disembodiment and paradoxical physical condition of ineffability, of

saying everything yet remaining silent.

Chekhov's famous sound comes from `very far away` and `from the sky itself` thus

corresponding to jankelevitch`s `part out et nulle part` which altogether created music-poetic

fantasies.

vi. List the primary scholars with whom this author's works intersect

Pierre Schaeffer, Simon Morrison, Wagner and Roger Nicholas

vii. Reflection

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The articles have extensive knowledge of the unknown sound in opera. The author manages

to show an interplay between poetic implication and music genre and collision of fiction with

real musical sound. The article can be a good source for scholarly research on the Chekhov`s,

The Cherry Orchard.

Fourteenth Article: Kramer

i. Include the topic & its historical context

The context is on women on operatic stage in relation to the Misogyny of Otto Weininger `s

manifesto on sex and character, 1903 that led to supremacism.

ii. Identify the central research problem/question the musicologist attempts to

answer/solve

Historical understanding of Salome and Elektra to grasp the participation of opera in the

cultural work of Fin-de-siècle misogyny, their positive subversions and intertwining the

account of music with cultural dynamics.

iii. Outline the main claim/answer/solution

The existence of striking Elektra`s workings of participation and subversion, for instance,

Elektra managed to translate moral judgment into elaborate fantasies of abused bodies that

had been hunted down, tortured and penetrated thus evoking cathartic evulsion.

iv. Outline the main supporting reasons

When Elektra collapses from the weight of her gratification, her body stuns and convulses,

the catharsis becomes complete, and the audience is edified. The Elektra of opera led to the

compelling phobic personification of womanhood as brute bodily energy and tragic

personification of moral outrage.

v. Identify the categories of primary sources used as supporting evidence

The orchestra relationship to Elektra encapsulates the relationship between supremacist

masculine to his feminine object. Strauss`s reading of Elektra represents negotiations with the

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misogyny of supremacist culture. Strauss going against the supremacist is prove of denial of

legitimacy to women while the characterization of Elektra explores on traits such as

animalism, sensual cruelty, autism, and perversity.

Elektra`s `nameless` dance of the floor is an indication of Elektra subjectivity and willingness

to transits in terms of supremacy culture from voice, body, subject to body.

vi. List the primary scholars with whom this author's works intersect

Mozart`s Don Giovanni, Gustav Klimt, Genevieve Lloyd, Rene Girard, Tethys Carpenter and

Klaus Theweleit.

vii. Reflection

The authors work recommendable. The language used is simple and easily understandable.

What is amazing is how the author manages to explore the character trait of Strauss`s Elektra

grounded in supremacist misogyny, a trait that Weininger`s sex and character serves a

horrific guidebook.

Fifteenth Article: Taruskin

i. Include the topic & its historical context

The context is on Musorgsky`s Boris Godunov thoughts on Opera and Nation and the

instability of relationship existing between the two, the changes in the opera between 1871-

1872 and their influence on the historical context.

ii. Identify the central research problem/question the musicologist attempts to

answer/solve

To explore the implication of opera to nationhood and the inevitable instability of

relationship between opera or individual operas to the nation whose significant has never

been in doubt.

To identify changes in the opera Boris Godunov and how they reflected historical context.

iii. Outline the main claim/answer/solution

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Boris Godunov based on the play Pushkin was a product of exploration of the historical

thoughts. The Russian start taking opera seriously as the main contributors to the national

historiography.

iv. Outline the main supporting reasons

From the `historical chronicle` of the key point or reasons projected is that a theater is not an

idle amusement but rather a significant among the organs that motivate and develop the

intellectual of life of a man and has the massive influence of the history of societies.

Among the changes in the opera is the composition of the crowd scene outside Moscow,

where the rebellious populace hails the pretender to replace a crowd scene at red square. The

hungry crowd in this context submits and begs Boris for the bread/ the new scene reflected on

the historical events and the relationship between the state and the people

v. Identify the categories of primary sources used as supporting evidence

The school of dynasty historians by Karamzin whose monumental History of the Russian

state appeared early 818 lay a foundation for official nationalism in 1835. The neo- Hegelian

`state` school represented by Sergey gives the most comprehensive history of Russia and the

Short-lived `Populist` school exploring on the bottom-up theory of historical agency known

to all scholars of the Russian music and contains a significant page of history.

vi. List the primary scholars with whom this author's works intersect

Joseph Karman, Sergey Solovy, and Rimky Korsako

vii. Reflection

The article provides a clear elaboration of the changes in the Boris Godunov opera by

Musorgsky where the new scenes reflected the historical events happening at that time. Its

good source to review the historical context if the Russians and how opera played a crucial

role in shaping events.

Sixteenth Article: Balthazar

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i. Include the topic & its historical context

The context is on Verdi`s opera which draws significant influence on its operatic scenes,

structure, and prototypes on Rossini.

ii. Identify the central research problem/question the musicologist attempts to

answer/solve

Identify Verdi `s lyric numbers and their resemblance to Rossini forbearers.

iii. Outline the main claim/answer/solution

Majority of the cases of Verdi`s scenes are modifications of the basic convention of musico-

dramatic structure` drawn from Rossini`s solite forme.

iv. Outline the main supporting reasons

As late as the late 1870s, Verdi `s opera followed the outlines of Rossinian four-movement

format and sections termed as tempo d`attaco, the slow movement, tempo di mezzo, and the

cabaletta.

v. Identify the categories of primary sources used as supporting evidence

After 1850, Verdi`s opera presents revelations and events that provide connections to later

scenes. There was increased intensity in the internal dramatic motion generating dramatic

instability by generating new quarrels and bringing latest ones to the surface. Then Verdi and

his librettist reduced dichotomy between interactive, expository movements and

noninteractions that had dominated the Rossini duets. They no longer had conventional

dramatic roles. Traditional slow movement and cabalettas now performed actions reserved

for temp d`attaco and tempo di mezzo. The two previously active movements contained

introspections found in Rossini reserved for effective slow movement and cabalettas.

vi. List the primary scholars with whom this author's works intersect

Bellini, Donizetti, Verdi,

vii. Reflection

Surname 22

The author provides a comparison that shows operatic structures in Rossini that are adopted

in the Verdi`s opera. The author assumes that the information provided is adequate and won`t

trigger further research.

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