The Development of Certain Tendencies in Modern Opera: Thesis for the degree of Bachelor of Music — John Shaqi
The Development of Certain Tendencies in Modern Opera: Thesis for the degree of Bachelor of MusicBrowne, Kathryn Eleanor
History
The Development of Certain Tendencies in Modern Opera: Thesis for the degree of Bachelor of Music
Browne, Kathryn Eleanor
Opera
It is an acknowledged fact that Peri and his little band of Florentine
reformers went back to the old Greek dramas for their models and forms.
However, it is not to be supposed that opera was developed spontaneously
among these reformers. Like every other world wide movement, it was the
culmination of tendencies and customs from various sources. We have
no reason to accept the Greek dramas as the only models which served,
although they were considered seriously by the first opera writers.
The Egyptians sang jubilations to their Gods. These consisted of florid
cadences on prolonged vowel sounds. In the old Greek dramas, music played
an important part. The Greek tragedy and comedy developed from the hymns,
choral dances and chants sung by a chorus of singers disguised as satyrs,
at the festivals of Bacchus. The chorus often addressed the audience on
topical subjects. The various actors intoned or chanted their words,
and were often accompanied by a lyre and other instruments of the day.
The chorus chanted their parts. This would not be termed music by us
today, but was more of a recitative. Later the chorus chanted while the
principals sang, forming a sort of background accompaniment. The slow
developement of the music in the mass must not be forgotten, but there is
nothing which definitely resembles opera until the thirteenth century.
"Noel" was supposed to be a song which the angels sang, and is found in
many festivals. Perhaps this may be termed one of the sources of Wagner's
ideas, the association of a particular song with one group of people. In
the "Three Maries" the chorus sang words in Latin, Gabriel and the three
virgins sang, but the words of the Savior had no music. The "Fete of the
Ass" was quite an elaborate festival and here the various characters sang
quite definitely, and the congregation was urged at stated intervals
to join in the singing. Part of the words and music were symbolical,
especially those imitating the braying of the ass. "The Passion", in
1264, enacted by the Fraternity of the Gonfalone, lasted for several
days, and contained scenes which were sung, choruses and a trio.
Public-domain text, read in full here on John Shaqi.
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