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Handel's "Israel in Egypt": A three...

Kim, Minji.

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Handel's "Israel in Egypt": A three-anthem oratorio. An analytical and interpretive study of the original 1739 version (England, George Frideric Handel).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Handel's "Israel in Egypt": A three-anthem oratorio. An analytical and interpretive study of the original 1739 version (England, George Frideric Handel)./
作者:	Kim, Minji.
面頁冊數:	380 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0812.
Contained By:	Dissertation Abstracts International66-03A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3166240
ISBN:	9780542015892

Handel's "Israel in Egypt": A three-anthem oratorio. An analytical and interpretive study of the original 1739 version (England, George Frideric Handel).
Kim, Minji.

Handel's "Israel in Egypt": A three-anthem oratorio. An analytical and interpretive study of the original 1739 version (England, George Frideric Handel). - 380 p.

Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0812.

Thesis (Ph.D.)--Brandeis University, 2005.

Israel in Egypt was originally composed as a three-part oratorio. However, it became better known in two parts without the Lamentation of the Israelites for the Death of Joseph. As a result, there is only a limited understanding of the original version. Scholars have tended to criticize Israel in Egypt for its heavy reliance on borrowed materials and its unusual construction as a largely choral oratorio based on a non-dramatic libretto. This has hindered examination beyond these individual issues. The main objective of this dissertation, therefore, is to reevaluate these criticisms through a systematic study of the composition in its original context.

ISBN: 9780542015892Subjects--Topical Terms:

516178
Music.

Handel's "Israel in Egypt": A three-anthem oratorio. An analytical and interpretive study of the original 1739 version (England, George Frideric Handel).
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245 1 0 $a Handel's "Israel in Egypt": A three-anthem oratorio. An analytical and interpretive study of the original 1739 version (England, George Frideric Handel).
300 $a 380 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0812.
500 $a Adviser: Eric T. Chafe.
502 $a Thesis (Ph.D.)--Brandeis University, 2005.
520 $a Israel in Egypt was originally composed as a three-part oratorio. However, it became better known in two parts without the Lamentation of the Israelites for the Death of Joseph. As a result, there is only a limited understanding of the original version. Scholars have tended to criticize Israel in Egypt for its heavy reliance on borrowed materials and its unusual construction as a largely choral oratorio based on a non-dramatic libretto. This has hindered examination beyond these individual issues. The main objective of this dissertation, therefore, is to reevaluate these criticisms through a systematic study of the composition in its original context.
520 $a I discuss the musical and textual design of the oratorio, drawing on evidence from Handel's autographs, compositional process, and borrowings. While Part I was originally constructed as an anthem (Funeral Anthem for Queen Caroline) and Part III has been noted for its anthem-like style, Part II has not been sufficiently considered as an anthem of equal weight. My view of the structure as three self-contained but contextually and musically unified anthems provides a greater understanding of the oratorio's overall design.
520 $a Central to my analysis is a theological interpretation of the work. Despite the popular scholarly view that rejects the presence of any theological meaning behind Handel's music, Israel in Egypt displays his knowledge of Biblical and theological contexts of the libretto. An emphasis is also placed on the examination of Handel's use of preexisting music and its effect on his overall musical language. Although his borrowing is often seen either as evidence of the decline in his inventive capabilities as a composer during this time or as a habitual practice that has no particular musical significance, I argue that Handel's borrowing in Israel in Egypt displays a purposeful and meaningful incorporation of his sources.
520 $a This examination not only provides a valuable case study in a single, large-scale composition, but also offers a glimpse into Handel's creative thought-process. Despite the reliance on a wide-variety of musical sources, Israel in Egypt presents a coherent musical narrative supported by an overarching theological message.
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