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

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dc.contributor.authorVan der Walt, Karenen_ZA
dc.date.accessioned2015-01-27T09:42:06Z
dc.date.available2015-01-27T09:42:06Z
dc.date.issued2013en_ZA
dc.descriptionIncludes bibliographical references.en_ZA
dc.description.abstractThe 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.identifier.apacitationVan der Walt, K. (2013). <i>The mezzo-soprano as representation of 'the other' in nineteenth century opera</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,College of Music. Retrieved from http://hdl.handle.net/11427/12317en_ZA
dc.identifier.chicagocitationVan der Walt, Karen. <i>"The mezzo-soprano as representation of 'the other' in nineteenth century opera."</i> Thesis., University of Cape Town ,Faculty of Humanities ,College of Music, 2013. http://hdl.handle.net/11427/12317en_ZA
dc.identifier.citationVan der Walt, K. 2013. The mezzo-soprano as representation of 'the other' in nineteenth century opera. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Van der Walt, Karen AB - 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. DA - 2013 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2013 T1 - The mezzo-soprano as representation of 'the other' in nineteenth century opera TI - The mezzo-soprano as representation of 'the other' in nineteenth century opera UR - http://hdl.handle.net/11427/12317 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/12317
dc.identifier.vancouvercitationVan der Walt K. The mezzo-soprano as representation of 'the other' in nineteenth century opera. [Thesis]. University of Cape Town ,Faculty of Humanities ,College of Music, 2013 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/12317en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentCollege of Musicen_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherMusicen_ZA
dc.titleThe mezzo-soprano as representation of 'the other' in nineteenth century operaen_ZA
dc.typeDoctoral Thesis
dc.type.qualificationlevelDoctoral
dc.type.qualificationnameDMusen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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