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Oberon---a reevaluation of Carl Mari...

Brandeis University., Music.

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Oberon---a reevaluation of Carl Maria von Weber.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Oberon---a reevaluation of Carl Maria von Weber./
作者:	Morgan, Joseph E.
面頁冊數:	439 p.
附註:	Adviser: Eric T. Chafe.
Contained By:	Dissertation Abstracts International70-04A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3352988
ISBN:	9781109114331

Oberon---a reevaluation of Carl Maria von Weber.
Morgan, Joseph E.

Oberon---a reevaluation of Carl Maria von Weber. - 439 p.

Adviser: Eric T. Chafe.

Thesis (Ph.D.)--Brandeis University, 2009.

Although Carl Maria von Weber's Oberon (1826) is rarely performed on the modern stage, it is an opera that, by virtue of its extant source materials, the unique circumstances of its premiere, and as the final work of a composer who was confronted by his own failing health, merits more scholarly attention. Further, because most extant scholarship on Weber emphasizes the powerful influence that he had on Richard Wagner's work and career, there remains a significant gap in research that solely focuses on Weber. Through an intensive and interdisciplinary study of Weber's context, dramaturgy, and final work, this dissertation will fill this lacuna.

ISBN: 9781109114331Subjects--Topical Terms:

635474
Art History.

Oberon---a reevaluation of Carl Maria von Weber.
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245 1 0 $a Oberon---a reevaluation of Carl Maria von Weber.
300 $a 439 p.
500 $a Adviser: Eric T. Chafe.
500 $a Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1086.
502 $a Thesis (Ph.D.)--Brandeis University, 2009.
520 $a Although Carl Maria von Weber's Oberon (1826) is rarely performed on the modern stage, it is an opera that, by virtue of its extant source materials, the unique circumstances of its premiere, and as the final work of a composer who was confronted by his own failing health, merits more scholarly attention. Further, because most extant scholarship on Weber emphasizes the powerful influence that he had on Richard Wagner's work and career, there remains a significant gap in research that solely focuses on Weber. Through an intensive and interdisciplinary study of Weber's context, dramaturgy, and final work, this dissertation will fill this lacuna.
520 $a The principal framework for this study is Weber's conception of the German identity as cosmopolitanism. In this construction of national identity, the unique attribute of German artistic style was characterized by the thorough study and synthesis of foreign aesthetic practice in the artistic work. This dissertation contextualizes Weber's identity through a study of the criticism, poetry, painting, and political context of his contemporaries.
520 $a Another framework for this investigation is drawn from Weber's personal relationship with the philosopher F. J. Schelling and his systematic approach to aesthetics. Schelling's categories of expression---the schematic, allegory and symbol---not only provide a revealing system by which Weber's unique Romantic musical language may be understood, but they also reveal many parallel developments in the works of his contemporaries.
520 $a The works by Weber that this dissertation discusses include Der Kampf und Sieg Cantata (J. 190), Abu Hassan (J. 106), "Was Sag Ich?" (J. 239), Der Freischutz (J. 277), and Euryanthe (J.291). However, the closest analysis is reserved for Oberon (J. 306), where these facets of Weber's operatic dramaturgy are shown to be at their fullest stage of development. Other artists discussed include Theodore Korner, Caspar David Friedrich, Friedrich Overbeck, Franz Pforr. Ultimately, the primary conclusion reveals that while Weber was highly influential on many composers who followed him, Weber's work and musical style is most properly understood as a product of his own historical context---one which could not accommodate the aesthetic principles that only emerged later in the long 19th century.
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790 1 0 $a Lockwood, Lewis $e committee member
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