東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Linked to FindBook

Google Book

Amazon

博客來

From Paintings to Opera : = Discovering the Reimagination of William Hogarth's A Rake's Progress in Igor Stravinsky's The Rake's Progress.

Record Type:	Electronic resources : Monograph/item
Title/Author:	From Paintings to Opera :/
Reminder of title:	Discovering the Reimagination of William Hogarth's A Rake's Progress in Igor Stravinsky's The Rake's Progress.
Author:	Ng, Hong Liang.
Description:	1 online resource (81 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-02, Section: A.
Contained By:	Dissertations Abstracts International84-02A.
Subject:	Music history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29260359click for full text (PQDT)
ISBN:	9798837592669

From Paintings to Opera : = Discovering the Reimagination of William Hogarth's A Rake's Progress in Igor Stravinsky's The Rake's Progress.
Ng, Hong Liang.

From Paintings to Opera :Discovering the Reimagination of William Hogarth's A Rake's Progress in Igor Stravinsky's The Rake's Progress. - 1 online resource (81 pages)

Source: Dissertations Abstracts International, Volume: 84-02, Section: A.

Thesis (D.M.A.)--North Dakota State University, 2022.

Includes bibliographical references

The Rake's Progress (1951) is a well-known satirical opera in three acts with an epilogue by Igor Stravinsky (1882-1971), with a libretto written by Wystan Hugh Auden (1907-1973) and Chester Kallman (1921-1975). This opera is based on William Hogarth's (1697-1764) series of eight paintings, A Rake's Progress (1734), which inspired Stravinsky during his visit to the Art Institute of Chicago on May 2, 1947. Even though many scholars have conducted discussions on the opera itself, there is little scholarship on the influence of Hogarth's paintings on Stravinsky's opera. This dissertation considers how Stravinsky, Auden, and Kallman translated Hogarth's series of satirical paintings into a period opera to which audiences in the mid-twentieth century could relate. As I am a collaborative pianist that works extensively with singers and opera projects, I aim for this document to be helpful as a guide for singers, vocal coaches, or other interested individuals who wish to have a fresh perspective on this opera.I have divided this dissertation into three parts. In the first part of my disquisition, I investigate Stravinsky's motivation to write this opera by researching the societal culture, in both early-eighteenth-century London and the mid-twentieth-century United States. In the second part of this paper, I track the collaborators' creative decisions in altering the opera's narrative. I review the libretto of the opera and the iconography of Hogarth's series of paintings which consists of religious and cultural symbols reflecting Hogarth's perspective on morality during his time. I also consult modern scholarships in interpreting the narrative and proceed to establish the relationship between the libretto and Hogarth's paintings. In the third part of this dissertation, I critically analyze selected arias of the opera to investigate how Stravinsky employs neoclassicism in bringing the libretto to life in the music.Ultimately, this dissertation provides a fresh perspective on Stravinsky's opera by giving a better understanding of Hogarth's views on morality and culture in eighteenth-century London through his series of engravings as well as how Stravinsky, Auden, and Kallman translated Hogarth's intentions for their own purposes in this opera, The Rake's Progress.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798837592669Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

A Rake's ProgressIndex Terms--Genre/Form:

542853
Electronic books.

From Paintings to Opera : = Discovering the Reimagination of William Hogarth's A Rake's Progress in Igor Stravinsky's The Rake's Progress.
LDR:03741nmm a2200397K 4500 001 2355542
005 20230523082844.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798837592669
035 $a (MiAaPQ)AAI29260359
035 $a AAI29260359
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Ng, Hong Liang. $3 3695970
245 1 0 $a From Paintings to Opera : $b Discovering the Reimagination of William Hogarth's A Rake's Progress in Igor Stravinsky's The Rake's Progress.
264 0 $c 2022
300 $a 1 online resource (81 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-02, Section: A.
500 $a Advisor: Wottrich, Tyler.
502 $a Thesis (D.M.A.)--North Dakota State University, 2022.
504 $a Includes bibliographical references
520 $a The Rake's Progress (1951) is a well-known satirical opera in three acts with an epilogue by Igor Stravinsky (1882-1971), with a libretto written by Wystan Hugh Auden (1907-1973) and Chester Kallman (1921-1975). This opera is based on William Hogarth's (1697-1764) series of eight paintings, A Rake's Progress (1734), which inspired Stravinsky during his visit to the Art Institute of Chicago on May 2, 1947. Even though many scholars have conducted discussions on the opera itself, there is little scholarship on the influence of Hogarth's paintings on Stravinsky's opera. This dissertation considers how Stravinsky, Auden, and Kallman translated Hogarth's series of satirical paintings into a period opera to which audiences in the mid-twentieth century could relate. As I am a collaborative pianist that works extensively with singers and opera projects, I aim for this document to be helpful as a guide for singers, vocal coaches, or other interested individuals who wish to have a fresh perspective on this opera.I have divided this dissertation into three parts. In the first part of my disquisition, I investigate Stravinsky's motivation to write this opera by researching the societal culture, in both early-eighteenth-century London and the mid-twentieth-century United States. In the second part of this paper, I track the collaborators' creative decisions in altering the opera's narrative. I review the libretto of the opera and the iconography of Hogarth's series of paintings which consists of religious and cultural symbols reflecting Hogarth's perspective on morality during his time. I also consult modern scholarships in interpreting the narrative and proceed to establish the relationship between the libretto and Hogarth's paintings. In the third part of this dissertation, I critically analyze selected arias of the opera to investigate how Stravinsky employs neoclassicism in bringing the libretto to life in the music.Ultimately, this dissertation provides a fresh perspective on Stravinsky's opera by giving a better understanding of Hogarth's views on morality and culture in eighteenth-century London through his series of engravings as well as how Stravinsky, Auden, and Kallman translated Hogarth's intentions for their own purposes in this opera, The Rake's Progress.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Music history. $3 3342382
650 4 $a Art history. $3 2122701
653 $a A Rake's Progress
653 $a Stravinsky, Igor
653 $a Neoclassicism
653 $a Opera
653 $a The Rake's Progress
653 $a Hogarth, William
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0208
690 $a 0377
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a North Dakota State University. $b Music. $3 3168676
773 0 $t Dissertations Abstracts International $g 84-02A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29260359 $z click for full text (PQDT)