{"id":{"repo_id":"city-london","oai_identifier":"oai:openaccess.city.ac.uk:17966"},"canonical_url":"https://search.dev.ndltd.org/etd/city-london/oai:openaccess.city.ac.uk:17966","repository":{"repo_id":"city-london","name":"City University of London","base_url":"https://openaccess.city.ac.uk/cgi/oai2"},"display":{"title":"Representing children in opera","abstract":"This study is a survey of how composers have represented children in opera from the late nineteenth century onwards. Operatic roles for children are analysed from a primarily technical perspective, with those written specifically for children's voices presented alongside those intended for adults playing children; then the relative merits of each approach is considered. A chronological list of child roles can be found in the introduction. Chapter 1 evaluates the ways in which opera composers have approached writing for children's voices; extracts from monologues, dialogues, ensembles and solos with instrumental accompaniment are analysed. Chapter 2 explores methods by which composers have evoked notions of childhood; examples of songs, nursery rhymes, lessons, learning, scale, fantasy, and tantrums are discussed. Chapter 3 treats the musical representation of the notions of innocence and experience in children's roles. Chapter 4 offers the author's recent opera, I'm the King of the Castle. as a case study in its use of many of the notions explored in the preceding chapters.","abstract_html":"This study is a survey of how composers have represented children in opera from the late nineteenth century onwards. Operatic roles for children are analysed from a primarily technical perspective, with those written specifically for children's voices presented alongside those intended for adults playing children; then the relative merits of each approach is considered. A chronological list of child roles can be found in the introduction. Chapter 1 evaluates the ways in which opera composers have approached writing for children's voices; extracts from monologues, dialogues, ensembles and solos with instrumental accompaniment are analysed. Chapter 2 explores methods by which composers have evoked notions of childhood; examples of songs, nursery rhymes, lessons, learning, scale, fantasy, and tantrums are discussed. Chapter 3 treats the musical representation of the notions of innocence and experience in children's roles. Chapter 4 offers the author's recent opera, I'm the King of the Castle. as a case study in its use of many of the notions explored in the preceding chapters.","abstract_has_math":false,"creators":["Peat, Richard"],"institution":"City University","degree_name":"phd","degree_level":"doctoral","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2007,"date_issued":"2007","date_published":"2007","updated_at":"2026-07-24T01:39:38Z","subjects":["M Music"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Peat, Richard"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2007"]},{"key":"dc:date.issued","label":"Date","values":["2007"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["School of Communication & Creativity","Doctoral Theses","School of Communication & Creativity Doctoral Theses","Department of Performing Arts","School of Arts - Music Department"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["City University"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://openaccess.city.ac.uk/id/eprint/17966/"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["doctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["phd"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["M Music"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://openaccess.city.ac.uk/id/eprint/17966/1/435045.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This study is a survey of how composers have represented children in opera from the late nineteenth century onwards. Operatic roles for children are analysed from a primarily technical perspective, with those written specifically for children's voices presented alongside those intended for adults playing children; then the relative merits of each approach is considered. A chronological list of child roles can be found in the introduction. Chapter 1 evaluates the ways in which opera composers have approached writing for children's voices; extracts from monologues, dialogues, ensembles and solos with instrumental accompaniment are analysed. Chapter 2 explores methods by which composers have evoked notions of childhood; examples of songs, nursery rhymes, lessons, learning, scale, fantasy, and tantrums are discussed. Chapter 3 treats the musical representation of the notions of innocence and experience in children's roles. Chapter 4 offers the author's recent opera, I'm the King of the Castle. as a case study in its use of many of the notions explored in the preceding chapters."]},{"key":"dc:format","label":"Dc Format","values":["text"]},{"key":"dc:title","label":"Title","values":["Representing children in opera"]}]}],"canonical_facts":{"dc:creator":["Peat, Richard"],"dc:date":["2007"],"dc:date.issued":["2007"],"dc:description.abstract":["This study is a survey of how composers have represented children in opera from the late nineteenth century onwards. Operatic roles for children are analysed from a primarily technical perspective, with those written specifically for children's voices presented alongside those intended for adults playing children; then the relative merits of each approach is considered. A chronological list of child roles can be found in the introduction. Chapter 1 evaluates the ways in which opera composers have approached writing for children's voices; extracts from monologues, dialogues, ensembles and solos with instrumental accompaniment are analysed. Chapter 2 explores methods by which composers have evoked notions of childhood; examples of songs, nursery rhymes, lessons, learning, scale, fantasy, and tantrums are discussed. Chapter 3 treats the musical representation of the notions of innocence and experience in children's roles. Chapter 4 offers the author's recent opera, I'm the King of the Castle. as a case study in its use of many of the notions explored in the preceding chapters."],"dc:format":["text"],"dc:identifier.uri":["https://openaccess.city.ac.uk/id/eprint/17966/1/435045.pdf"],"dc:publisher.department":["School of Communication & Creativity","Doctoral Theses","School of Communication & Creativity Doctoral Theses","Department of Performing Arts","School of Arts - Music Department"],"dc:publisher.institution":["City University"],"dc:relation.isreferencedby":["https://openaccess.city.ac.uk/id/eprint/17966/"],"dc:subject":["M Music"],"dc:title":["Representing children in opera"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["doctoral"],"dc:type.qualificationname":["phd"]},"updated_at":"2026-07-24T01:39:38Z"}