The mezzo-soprano as representation of 'the other' in nineteenth century opera

 

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dc.contributor.author Van der Walt, Karen en_ZA
dc.date.accessioned 2015-01-27T09:42:06Z
dc.date.available 2015-01-27T09:42:06Z
dc.date.issued 2013 en_ZA
dc.identifier.citation Van der Walt, K. 2013. The mezzo-soprano as representation of 'the other' in nineteenth century opera. University of Cape Town. en_ZA
dc.identifier.uri http://hdl.handle.net/11427/12317
dc.description Includes bibliographical references. en_ZA
dc.description.abstract The author continues by arguing that mezzo-soprano and contralto voices resemble the male voice and therefore composers often cast women in this fach as the jealous and malicious characters compared to the true and simplistic nature of the soprano (e.g. Ortrud versus Elsa in Lohengrin).3 When one looks at the significant mezzo-soprano roles in nineteenth-century opera, it is clear that the majority of these roles can be seen as representations of the Other. The aim of the thesis will be to investigate some of the most important nineteenth-century mezzo-soprano roles that represent the Other. The main research question is: To what extent do the selected roles represent the various templates delineated in theories of alterity? The roles will be classified and discussed according to four templates of alterity: social, religious, moral and emotional. en_ZA
dc.language.iso eng en_ZA
dc.subject.other Music en_ZA
dc.title The mezzo-soprano as representation of 'the other' in nineteenth century opera en_ZA
dc.type Thesis / Dissertation en_ZA
uct.type.publication Research en_ZA
uct.type.resource Thesis en_ZA
dc.publisher.institution University of Cape Town
dc.publisher.faculty Faculty of Humanities en_ZA
dc.publisher.department College of Music en_ZA
dc.type.qualificationlevel Doctoral en_ZA
dc.type.qualificationname DMus en_ZA
uct.type.filetype Text
uct.type.filetype Image


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