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able of Contents Chapter 1: Introduction......................................................................................................2 Context of the Study.....................................................................................................2 An Historical Background to the Study of Eighteenth-Century Opera...............2 The Development of Recitative.........................................................................12 Concepts of Recitative in Opera........................................................................17 A Distinction between the Notation and Performance Practice of Recitative...25 The Neapolitan Intermezzo and Opera Buffa....................................................29 La Serva Padrona...............................................................................................34 Giovanni Battista Pergolesi...............................................................................37 Giovanni Paisiello.............................................................................................39 Expected Similarities and Differences in their Settings of La Serva Padrona . 42 Aims of the Study.......................................................................................................46 Significance of the Study...................................................................................48 Chapter 2: The Study.......................................................................................................49 Selected Compositional Devices.................................................................................49 Rhythm used in setting the text.........................................................................49 Melody used for setting the text........................................................................50 Harmonies used in setting the text.....................................................................52 Keys used for setting the text............................................................................55 Compositional devices involving any combination of rhythm, melody, harmony and key...............................................................................................................57 The Analysis...........................................................................................................59 Selected recitative sections for comparison......................................................59 Uberto bemoans Serpina's tardiness: Questa è per me disgrazia..................59 Uberto reveals his feelings for Serpina: Gran fatto!.....................................64 Serpina reveals her agenda: Adunque perch'io son serva.............................69 Uberto decides to act: Di che ride quell'asino?.............................................72 Serpina's emotional blackmail: Insomma delle somme................................74 Uberto decides to take a wife: Sì, fermati, guardami....................................77 Serpina's deception begins: Io crederei.........................................................82 Serpina finds a 'fiancé': Cred'io che sì: fa d'uopo ancor ch'io pensi a' casi miei...............................................................................................................86 Uberto is concerned about Serpina's fate: Vuol vedere il mio sposo?..........89 Uberto in turmoil: Ah poveretta lei! Per altro penserei................................93 The Dénouement - Serpina becomes Mistress: L'ha detto ... Sì, signore...105 Chapter 3: Conclusion...................................................................................................109 Appendix 1: Notes on scores used in the study....................................................116 References ...........................................................................................................118 Sound Recordings................................................................................................125 Page 1 of 125 Chapter 1: Introduction Context of the Study An Historical Background to the Study of Eighteenth-Century Opera In the context of Western music,1 there are works2 in which text and music are synergetically combined. The combination produces a different form of communication from that possible through either medium alone. Music works involving this combination of text and music can be for a solo voice or for an ensemble of voices, either accompanied by instruments or unaccompanied. The works include songs, recitatives, arias, and choral pieces. A synergetic combination of music with text can be used to clarify, amplify or modify the drama inherent in the text.3 This practice has its origins in Classical Greek culture, in particular, the performances of the choral dancers in Greek Tragedy. In this genre, a dichotomy between Apollonian and Dionysian ideals was expressed. The term Dionysian is derived from Dionysos, the Greek god of wine, drama, and ecstasy. By contrast, the term Apollonian is derived from Apollo, the Greek sun-god associated with poetry and music. Smith (2011, p. 12-13) states that the term Dionysian "carries connotations of chaos, intoxication, lack of self-control, and extremes of experience and expression, both physical and emotional." By contrast, he notes that the term Apollonian "carries connotations of order, sobriety, discipline, and rational behaviour." This is a common understanding of the two ideals within the drama. Late Medieval thought was strongly