Enrique Granados' Transformation of the Goyescas Piano Suite into the Opera Goyescas
| dc.contributor.advisor | Zumbro, Nicholas | en |
| dc.contributor.author | Manno, Terrie L. | |
| dc.creator | Manno, Terrie L. | en |
| dc.date.accessioned | 2017-07-24T17:08:30Z | |
| dc.date.available | 2017-07-24T17:08:30Z | |
| dc.date.issued | 1989 | |
| dc.identifier.uri | http://hdl.handle.net/10150/624864 | |
| dc.description.abstract | The main purpose of this paper is to compare the Opera Goyescas with the Goyescas Piano Suite in order to demonstrate how the composer used the pre-existant materials, and to what extent. The Opera Goyescas will be compared measure-by-measure with the sources from which Granados extracted materials. Scores for the two pieces of the Goyescas Piano Suite which are quoted directly and completely (El fandango de candil and El amor y la muerte) and the respective commensurate sections from the Opera Goyescas are included at the end of this document for study and comparison. A discussion of the operatic treatment of the pianistic materials is provided, demonstrating the techniques with which the composer worked in the recomposition of the Goyescas Piano Suite. Also included is a study of the individual pieces of the Goyescas Piano Suite (Books I and II), with emphasis on the fifth piece, El amor y la muerte. The developmental characteristics of that piece (which makes extensive use of motives and themes from the earlier four Suite pieces), will be discussed | |
| dc.language.iso | en_US | en |
| dc.publisher | The University of Arizona. | en |
| dc.rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. | en |
| dc.subject | lecture recital document | en |
| dc.subject | Granados, Enrique, 1867-1916--Criticism and interpretation. | en |
| dc.title | Enrique Granados' Transformation of the Goyescas Piano Suite into the Opera Goyescas | en_US |
| dc.type | text | en |
| dc.type | Dissertation-Reproduction (electronic) | en |
| thesis.degree.grantor | University of Arizona | en |
| thesis.degree.level | doctoral | en |
| thesis.degree.discipline | Graduate College | en |
| thesis.degree.discipline | Music | en |
| thesis.degree.name | D.M.A. | en |
| dc.description.note | Lecture Recital Document (Digitized from holdings at the Fine Arts Library, University of Arizona Libraries) | en |
| dc.identifier.callnumber | 1989 MAN | |
| refterms.dateFOA | 2018-09-11T21:31:47Z | |
| html.description.abstract | The main purpose of this paper is to compare the Opera Goyescas with the Goyescas Piano Suite in order to demonstrate how the composer used the pre-existant materials, and to what extent. The Opera Goyescas will be compared measure-by-measure with the sources from which Granados extracted materials. Scores for the two pieces of the Goyescas Piano Suite which are quoted directly and completely (El fandango de candil and El amor y la muerte) and the respective commensurate sections from the Opera Goyescas are included at the end of this document for study and comparison. A discussion of the operatic treatment of the pianistic materials is provided, demonstrating the techniques with which the composer worked in the recomposition of the Goyescas Piano Suite. Also included is a study of the individual pieces of the Goyescas Piano Suite (Books I and II), with emphasis on the fifth piece, El amor y la muerte. The developmental characteristics of that piece (which makes extensive use of motives and themes from the earlier four Suite pieces), will be discussed |
