|The Physical Object|
|Pagination||xv, -211 p.|
|Number of Pages||211|
Full Title: Wagners Music Dramas Analysed with the Leading Motives. Author: Gustav Kobbe. Publisher: G. Schirmer, pages. Wear to the covers and spine, cracked front hinge; pages yellowed; a reading copy. Title page says Nieblung, Tristan, Mastersingers, Parsifal. A few illustrations. The Synthesis and Analysis of the Poetry of Author: Gustav Kobbe. COVID Resources. Reliable information about the coronavirus (COVID) is available from the World Health Organization (current situation, international travel).Numerous and frequently-updated resource results are available from this ’s WebJunction has pulled together information and resources to assist library staff as they consider how to handle coronavirus. Wagner's music-dramas analyzed, with the leading motives; Niebelung; Tristan; Mastersingers; Parsifal by Kobbé, Gustav, Pages: Full text of "Wagner's music-dramas analyzed, with the leading motives; Niebelung; Tristan; Mastersingers; Parsifal" See other formats.
Lavignac's Analysis of Returning Motives. lbert Lavignac in his invaluable reference work The Music Dramas of Richard Wagner provided this table, showing the occurrences of 84 motives through the cycle. Please note that the names given to these motives by Lavignac, based on those provided earlier by Wolzogen, may differ from the names that I. It is a far cry from the date of the first extant opera to the music-dramas of Richard Wagner. The opera, as regards its essential form, is old enough. the Greeks knew it, and it was probably well established before their time. In the tragedies of Aeschylus, Sophocles, and Euripides, there was musical recitation, and the choruses were sung in. How to understand Wagner's Ring of the Nibelung : the story and descriptive analysis, with musical examples of the leading motives of each drama / by Gustav Kobbé ; together with a sketch of Wagner's life by N. Kilburn Kobbé, Gustav, [ Book: ] At 7 libraries. The librettist for Wagner's music dramas was: Wagner himself. Which of the following does NOT characterize the music of Act III, Scene 1 of Die Walküre? a. The orchestra plays a subordinate role. b. The battle cries of the Valkyries can be heard. c. Major and minor harmonies alternate. d. The music flows continuously.
Bailey, Robert, ed. Richard Wagner: Prelude and Transfiguration from Tristan und York: W. W. Norton and Co., Chafe, Eric. The Tragic and the Ecstatic. Richard Wagner, German dramatic composer and theorist whose operas and music had a revolutionary influence on the course of Western music, either by extension of his discoveries or reaction against them. Among his major works are Tristan und Isolde (), Parsifal (), and The Ring of . Which is NOT an element of Wagner's "leading motives"? Select one: a. the motives are recurring and consist of a few notes b. the motives suggest emotions, ideas, objects c. the motives trace changes in the characters d. explanations of the motives are stated in a printed program provided by Wagner. The following list of the Ring’s musical motifs, in number, including musical notation, was provided by Dr. Allen B. Dunning from his online book A Thematic Guide to the Musical Themes of Richard Wagner’s ‘Der Ring des Nibelungen.’ It is the most comprehensive list currently available.