The history, development, and practical applications of the instrumental soliloquy

The dramatic device of the soliloquy has been in existence for generations; however, following the rise of realism, its use has declined in the theatrical arts as indicated by academics James Hirsh (2003) and Katie Wales (2014). In contrast, it is possible to identify a growing trend of composers using the term to describe both solo and ensemble repertoire, beginning at the end of the eighteenth century and extending to present date. Existing definitions of the soliloquy are contradictory and do not reference the term’s use in music. Furthermore, there are no available investigations related to the growing popularity of the soliloquy in music and its compositional, historical, and geographical development. This thesis presents the first review of the soliloquy in music. To address this gap in research and demonstrate the prevalence of the term’s use, a body of repertoire titled or described as a soliloquy has been compiled in the form of a database. Analysis of these compositions suggests multiple hypotheses relating to the historical and geographical development of the device, alongside compositional similarities that imply a common understanding of how a musical soliloquy should be presented. Through interdisciplinary research, composer correspondence, and analyses of repertoire, this thesis demonstrates the significance of the term’s use in music.

Level dc:type.qualificationlevel

Doctoral (Level 8)

Year dc:date.issued

2022

Author dc:creator

• Price, C

Language dc:language

en

Identifier

oai:salford-repository.worktribe.com:1330126

OAI identifier oai:identifier

oai:salford-repository.worktribe.com:1330126