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威爾第歌劇之「梭利塔模式」研究:以《弄臣》、《遊唱詩人》與《茶花女》為例

By 黃柳蕙

Abstract

[[abstract]]Abstract Abramo Basevi, the author of Studio sulle opere di Giuseppe Verdi (1859), provided a powerful analytical foundation for Verdi’s operas study in verbal organization, music and dramatic action. From his point of view, arias, duets and finales organized by Italy composers in the early nineteenth century such as Gioachino Rossini, Vincenzo Bellini and Goaetano Donizetti, have been formalized as fixed-designs gradually. Basevi termed the “convention” as “La solita forma” which was developed and popularized by Rossini. Verdi composed characteristic trilogy: Rigoletto, Il trovatore and La traviata in 1851-1853. It’s shown clearly that Verdi has a highly innovative spirit in the material of drama and he drew those roles in the operas with very impressed psychological condition. On the other hand Verdi mostly obeys Italian customary forms—“number operas” and “solita forma” in organization lyric numbers. As a matter of fact Verdi used conventional pattern, and in a manner, he transformed it gently and gradually. He hardly tried any innovative method differently to enhance dramatic momentum and accomplish his melodrama. In the thesis consists of six chapters. Chapter One mentions Basevi’s background. Chapter Two gives definitions of “La solita forma” in different viewpoints, and treats of Rossini’s organization of arias, duets, and central finales, reviews their design. Chapter Three, Four and Five give a discussion on the application and reforms of “La solita forma” in three operas. Chapter Six concludes Verdi’s various techniques for convention improvement. Base on this thesis, Tradition and Innovation elements in Verdi’s operas have been realized and analyzed discreetly.

Topics: 梭利塔模式;慣用形式;威爾第;二重唱;終曲, La solita forma;convention;Verdi;Duet;Finale, [[classification]]77
Year: 2011
OAI identifier: oai:ir.lib.ntnu.edu.tw:309250000Q/78249
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