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An Exploration of Music and Dramaturgy Edward Primrose

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An Exploration of Music and Dramaturgy Edward Primrose Music in context: an exploration of music and dramaturgy Edward Primrose 2013 Submitted as requirements for the award of Doctor of Philosophy The University of Newcastle, Australia School of Creative Arts ii Statement of Originality The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. iii Music in context: an exploration of music and dramaturgy Intellect, it holds knowledge of its own content. Knowledge implies desire, for it is, so to speak, discovery crowning a search. (Plotinus)1 Under the banners we ride for days through forest, down narrow lanes, leaf paths, to the king's war behind us spare horses, lesser knights, dustily follow after the battle no-one follows your captured horse walks over broken ground to a strange sunset castle roast meat and wine she leads you to her bed lie barely touching to love would ruin (Michael Dransfield) 2 1 Plotinus (250 AD) The Fifth Ennead from the Third Tractate Plotinus. The Six Enneads. (B. S. Page & S. MacKenna, Trans. (1952)). 2 Dransfield, M. (1987). Under the banners. In Collected poems. St. Lucia, Qld: University of Queensland Press. iv Contents Statement of Originality ............................................................................................................... ii Contents .......................................................................................................................................... iv Table of Figures ............................................................................................................................. ix Abstract ............................................................................................................................................ 1 Acknowledgements ........................................................................................................................ 2 Preface ............................................................................................................................................... 3 Chapter 1 Introduction: Music in context ............................................................................... 6 Thesis ......................................................................................................................................................... 6 An interrogation ...................................................................................................................................... 7 Dramaturgy: a definition .................................................................................................................... 11 Musical dramaturgy: current scholarship ....................................................................................... 14 Historical perspectives ........................................................................................................................ 20 Music and drama: a collaboration .................................................................................................... 29 Chapter 2 Towards an understanding of musical dramaturgy ........................................... 35 Introduction .......................................................................................................................................... 35 Music and theatre ................................................................................................................................. 36 Micro and macro relationships .......................................................................................................... 39 Musical dramaturgy in opera ............................................................................................................. 45 Musical dramaturgy and the composer ........................................................................................... 46 Electra: a myth and a guiding principle ........................................................................................... 48 Elektra: the opera ............................................................................................................................ 52 Elektra: filmed opera ...................................................................................................................... 54 Electra: the film ................................................................................................................................ 56 Summary ................................................................................................................................................ 60 Chapter 3 Wagner: music, drama & musical dramaturgy ................................................... 62 The old and the new ............................................................................................................................ 62 Film synopsis idea: ........................................................................................................................... 62 Wagner’s influences ........................................................................................................................ 63 The beginnings of opera ................................................................................................................ 65 A case for music drama ................................................................................................................... 67 Wagner the Filmmaker ....................................................................................................................... 72 Observations ..................................................................................................................................... 76 Performance practice ...................................................................................................................... 79 Some notes on harmony ................................................................................................................ 82 Summary ................................................................................................................................................ 85 Chapter 4 Musical dramaturgy: an approach to composition ........................................... 88 Prelude .................................................................................................................................................... 88 Emotion research .................................................................................................................................. 89 Non-verbal communication .............................................................................................................. 91 The music dramaturgical process in detail ...................................................................................... 93 Associate ............................................................................................................................................ 94 v Predict .............................................................................................................................................. 100 Allow ................................................................................................................................................ 107 Die: a pedagogical fiction .................................................................................................................. 116 Introduction ................................................................................................................................... 116 Terminology ................................................................................................................................... 116 Presentation of Die: a pedagogical fiction ................................................................................. 118 Commentary on the text of Die: a pedagogical fiction ........................................................... 118 Analysis of music in Die: a pedagogical fiction ......................................................................... 119 Post presentation commentary ................................................................................................... 121 Chapter 5 Analysis of selections from the film repertoire ................................................ 126 Introduction ........................................................................................................................................ 126 Now, Voyager ................................................................................................................................. 126 Laura ............................................................................................................................................... 131 Solaris .............................................................................................................................................. 135 A Pure Formality ............................................................................................................................ 139 Conclusion
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