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dc.contributor.advisorDeLong, Kenneth G.
dc.contributor.authorPaterson, Joanne
dc.date.accessioned2005-07-29T21:33:16Z
dc.date.available2005-07-29T21:33:16Z
dc.date.issued1996
dc.identifier.citationPaterson, J. (1996). From rondo aria to cantabile-cabaletta: the Italian opera aria in transition 1780-1825 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/19151en_US
dc.identifier.isbn0612128423en
dc.identifier.urihttp://hdl.handle.net/1880/29453
dc.descriptionBibliography: p. 120-126.en
dc.description.abstractDuring the late-eighteenth century, a number of different aria types emerged in Italian opera seria in conjunction with the establishment of the Classical style. One emergent aria form was the two-part, two-tempo rondo aria which first appeared in the 1760s and became standardized in the early 1780s. In its most conventional form, the rondo aria exhibited a two-tempo framework that includes an andante section followed by an allegro part. The andante most typically is constructed in a ternary fashion; the allegro likely contains gavotte rhythms. Examples of the rondo aria form can be found in Mozart's late operas and concert arias, as well as in the works of his Italian contemporaries, such as Giuseppe Sarti. Through various modifications, such as the introduction of pertichini, and the addition of a tempo di mezw, the rondo aria nucleus was expanded to encompass a continued preference for dynamic expression. This rondo aria is the direct ancestor of the cantabile-cabaletta convention highly evident in Italian opera of the mid-nineteenth century.
dc.format.extentxii, 129 leaves ; 30 cm.en
dc.language.isoeng
dc.rightsUniversity of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission.
dc.subject.lccML 1733.3 P37 1995en
dc.subject.lcshOpera - Italy - 18th century
dc.subject.lcshOpera - Italy - 19th century
dc.subject.lcshOperas - Excerpts
dc.titleFrom rondo aria to cantabile-cabaletta: the Italian opera aria in transition 1780-1825
dc.typemaster thesis
dc.publisher.institutionUniversity of Calgaryen
dc.identifier.doihttp://dx.doi.org/10.11575/PRISM/19151
thesis.degree.nameMaster of Arts
thesis.degree.nameMA
thesis.degree.disciplineMusic
thesis.degree.grantorUniversity of Calgary
dc.identifier.lccML 1733.3 P37 1995en
dc.publisher.placeCalgaryen
ucalgary.thesis.notesUARCen
ucalgary.thesis.uarcreleaseyen
ucalgary.item.requestcopytrue
ucalgary.thesis.accessionTheses Collection 58.002:Box 1053 520680450


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University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission.