Ensemble Forms in the Operas of Jules Massenet
RECONSTRUCTING CONVEN TION: ENSEMBLE FORMS IN THE OPERAS OF JULES MASSENET Gregory Straughn, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2004 APPROVED: Lester Brothers, Major Professor Frank Heidlberger, Minor Professor Margaret Notley, Committee Member James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Straughn, Gregory, Reconstructing Convention: Ensemble Forms in the Operas of Jules Massenet. Doctor of Philosophy (Musicology), December 2004, 265 pp., 41 musical examples, 9 figures, 24 tables, references, 177 titles. Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet’s reception as a “composer for the people,” a title ill fitting and ripe for reconsideration. This dissertation will examine duet forms in Massenet’s oeuvre and will focus on the gradual change in style manifest in his twenty-five operas. Massenet’s output can be divided into three distinct periods delineated by his approach to form. Representative works from each period will show how he inherited, interpreted, thwarted, and ultimately rewrote the standard formal conventions of his time and in doing so, created a dramaturgical approach to opera that unified the formerly separate number-based elements.
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