Approaches to the 19th century opera genres. Historiography, music dramaturgy and source readings

Course Information
TitleΕιδολογικές προσεγγίσεις της όπερας του 19ου αιώνα. Ιστοριογραφία, μουσική δραματουργία και μελέτη των πηγών (Σεμινάριο) / Approaches to the 19th century opera genres. Historiography, music dramaturgy and source readings
FacultyFine Arts
SchoolMusic Studies
Cycle / Level1st / Undergraduate
Teaching PeriodWinter
Course ID600013867

Programme of Study: PPS Tmīmatos Mousikṓn Spoudṓn (2017-sīmera)

Registered students: 0
OrientationAttendance TypeSemesterYearECTS
Musicology / Music EducationElective Courses536
Music CompositionElective Courses536

Class Information
Academic Year2018 – 2019
Class PeriodWinter
Class ID
Course Type 2016-2020
  • Scientific Area
Course Type 2011-2015
Specific Foundation / Core
Mode of Delivery
  • Face to face
Digital Course Content
Required Courses
  • ΙΠ1002 History of music (17th-19th century)
  • ΙΠ1004 Introduction to music studies
Learning Outcomes
Within the framework of the course, it is expected that students will • understand the theoretical and historical areas of musicology • connect the theory with the synthetic creation of a specific historical period • familiarize with the planning and organizing of a scientific module • become acquainted with the basic features of qualitative research • learn various ways of collecting qualitative data • become familiar with the methodological and practical issues, that may arise from the involvement of the researcher in the field he studies • practise in analyzing and interpreting qualitative data
General Competences
  • Apply knowledge in practice
  • Work autonomously
  • Work in an international context
  • Work in an interdisciplinary team
  • Appreciate diversity and multiculturality
  • Advance free, creative and causative thinking
Course Content (Syllabus)
The course aims to provide a historical overview of the opera in the 19th century, in addition to the basic knowledge about the structure and the dramaturgy of opera of the 19th century. Emphasis is also given to the various musical forms, introduced to the opera from the 1800s until about 1930. Considering the opera as a complex synthetic creation, the aim of this course is to show through concrete examples the characteristic forms and individual items of this kind of composition. The analysis of projects is also held while listening to or watching clips of recorded opera performances. This seminar will examine the forms and the genres of the 19th century opera, selecting the operas of composers such as Beethoven, Carl Maria von Weber, Rossini, Donizetti, Verdi, Bellini, Wagner, Puccini and Richard Strauss.
Educational Material Types
  • Audio
  • Multimedia
  • Book
Use of Information and Communication Technologies
Use of ICT
  • Use of ICT in Course Teaching
  • Use of ICT in Communication with Students
Course Organization
Laboratory Work130.4
Reading Assigment301
Field trips and participation in conferences / seminars / activities150.5
Written assigments451.5
Student Assessment
The course is of seminar-type, with a limited number of students and offers through the interactive participation and presentation of the projects the basic knowledge about the structure and the dramaturgy of the 19th century Opera. The assessment of students, who will sing up for the course, is realized only with the oral presentation and the written assignment.
Student Assessment methods
  • Written Assignment (Formative, Summative)
  • Performance / Staging (Formative, Summative)
Course Bibliography (Eudoxus)
1. Εύη Νίκα-Σαμψών (επιμ.) Ειδολογικές προσεγγίσεις της όπερας του 19ου αιώνα, Συλλογικός τόμος, Θεσσαλονίκη 2016, ISBN:978-960-93-8556-5. 2.Howard Mayer Brown, et al. «Opera (i)», Grove Music Online. Oxford Music Online, 7 Feb. 2009 . 3.Εύη Νίκα-Σαμψών, κεφάλαιο «Όπερα» στο συλλογικό τόμο με τίτλο Μουσική, έκδ. Εκδοτική Αθηνών, Αθήνα 2007, σ. 107-153. 4. Σειρά Cambridge Opera Handbooks. Cambridge Opera Handbooks. This is a series of studies of individual operas, written for the serious opera-goer or record-collector as well as the student or scholar. Each volume presents a history of the work and a detailed musical analysis. Some conflict of interpretation is an inevitable part of this account, and the editors of the handbooks reflect this by citing classic statements, by commissioning new essays, and by taking up their own critical position. A final section gives a select bibliography, a discography and guides to other sources. 5. ΚΑΡΛ ΝΤΑΛΧΑΟΥΣ ΑΙΣΘΗΤΙΚΗ ΤΗΣ ΜΟΥΣΙΚΗΣ, Εκδοτικός Οίκος: ΣΤΑΧΥ, Έτος έκδοσης: 2000, ISBN: 9608032450
Additional bibliography for study
C. Dahlhaus: Die Musik des 19. Jahrhunderts (Wiesbaden, 1980, 2/1988; Eng. trans., 1989) R. Taruskin: Opera and Drama in Russia as Preached and Practiced in the 1860s (Ann Arbor, 1981) Music in Paris in the Eighteen-Thirties: Northampton, MA, 1982 H. Lindenberger: Opera: the Extravagant Art (Ithaca, NY, 1984) - J. Rosselli: The Opera Industry in Italy from Cimarosa to Verdi: the Role of the Impresario (Cambridge, 1984; It. trans., 1985, enlarged, as L'impresario d'opera: arte e affari nel teatro musicale italiano dell'Ottocento) - P. Robinson: Opera and Ideas: from Mozart to Strauss (New York, 1985) - L. Bianconi, ed.: La drammaturgia musicale (Bologna, 1986) - J. Samson, ed.: Man and Music: the Late Romantic Era (London, 1991) - L. Goehr: The Imaginary Museum of Musical Works: an Essay in the Philosophy of Music (Oxford, 1992) - Bent, ed.: Music Analysis in the Nineteenth Century (Cambridge, 1993) - R. Wagner: Oper und Drama (Leipzig, 1852) - Bowie: Schelling and Modern European Philosophy (London, 1993) - J. Daverio: Nineteenth-Century Music and the German Romantic Ideology (New York, 1993) - Bent, ed.: Music Theory in the Age of Romanticism (Cambridge, 1996)
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