105年第2學期-2736 浪漫歌劇史 課程資訊
評分方式
| 評分項目 | 配分比例 | 說明 |
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選課分析
本課程名額為 15人，已有0 人選讀，尚餘名額15人。
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教育目標
This 2-credit course is for students at mixed levels, including advanced (3rd- and 4th-year) undergraduates and graduate students. Music literacy is required. The course explores topics related to historical and musicological aspects of opera in the Romantic era. It is divided into five parts that explore opera as a multifaceted cultural phenomenon. We begin with the social context of 19th-century Europe, looking at the impact of the politics and national (and nationalistic) ideologies upon the creation, perception, and production of opera. We then discuss the issue of text-music relation, focusing on the question of how the libretto shapes the music (and vice versa), and how the literary sources contributed to the larger conceptual frame of the narrative. This leads us to a different definition of the work concept (Werktreue), and the creative process of an opera composer in relation to the “definitive version” of his work. We then consider performance and production of opera, exploring the star system, the changing roles of opera conductors, and the visual and acoustical space of opera houses as major factors in the aesthetics of opera-going. We will also look at the practical aspects of opera production, considering issues of staging, rehearsal, and costume design. We conclude with opera at the turn of the century, discussing how Romantic opera was continued and gradually taken over by concepts and techniques related to modernism.
The aim of this course is twofold: to introduce students to major stylistic traits in the standard repertoire of Romantic opera, and, even more importantly, to help students understand Romantic opera as a cultural phenomenon in 19th-century Europe—rather than a musical genre alone—with a distinct set of expectations from composers, librettists, and audiences, as well as governments and nations.
課程資訊
基本資料
選修課，學分數：0-2
上課時間：二/11,12[MU319]
修課班級：音樂系3,4
修課年級：年級以上
選課備註：
教師與教學助理
授課教師：李奉書
大班TA或教學助理：尚無資料
Office HourMUS311, appointment day/time: TBA
授課大綱
授課大綱：開啟授課大綱(授課計畫表)
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參考書目
Charlton, David. Ed. The Cambridge Companion to Grand Opera. New York:
Cambridge University Press, 2003.
Cohen, H. Robert. The Original Staging Manuals for Twelve Parisian Operatic
Premieres. Stuyvesant, NY: Pendragon Press, 1991.
Forsyth, Michael. Buildings for Music: the Architect, the Musician, and the Listener
drom the Seventeenth Century to the Present Day. Cambridge, Mass.: MIT Press, 1985.
Frolova-Walker, Marina. “On Ruslan and Russianness” Cambridge Opera Journal 9/1
(1997): 21-45.
Fulcher, Jane. The Nation’s Image: French Grand Opera as Politics and Politicized Art.
New York: Cambridge University Press, 1987.
Gerhard, Anselm. The Urbanization of Opera: Music Theater in Paris in the Nineteenth
Century. Chicago: University of Chicago Press, 1998.
Giger, Andreas. “Verismo: Origin, Corruption, and Redemption of an Operatic Term.”
Journal of the American Musicological Society 60/2 (2007): 271-315.
Gossett, Philip. Divas and Scholars: Performing Italian Opera. Chicago: University of
Chicago Press, 2006.
Jensen, Luke. The Emergence of the Modern Conductor in 19th-Century Italian Opera,”
in Performance Practice Review 4/1 (1991): 34-63.
Parker, Roger. Ed. The Oxford Illustrated History of Opera. New York: Oxford
University Press, 1994.
Radice, Mark A. Ed. Opera in Context: Essays on Historical Staging from the Late
Renaissance to the Time of Puccini. Portland, Oregon: Amadeus Press, 1998.
Rutherford, Susan. The Prima Donna and Opera, 1815-1930. New York: Cambridge
University Press, 2006.
Taruskin, Richard. “Crowd, Mob, and Nation and Boris Godunov” Journal of
Musicology 28/2 (2011): 143-165.
Weiss, Piero. Opera: A History in Documents. New York: Oxford University Press,
2002.
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