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
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.
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.
http://www.cambridge.org/mx/academic/subjects/music/opera/series/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).
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).
J. Daverio, Nineteenth-Century Music and the German Romantic Ideology (New York, 1993).
Bent, ed., Music Theory in the Age of Romanticism (Cambridge, 1996).