{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85865"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85865","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Tempo in Puccini's Soprano Arias","abstract":"In the various performances of Puccini's soprano arias, there are often disagreements regarding Puccini's tempo. The ambiguity of Puccini's tempo words and his indications of tempo changes have resulted in widely varying musical interpretations when the same roles or arias are performed by different singers, or when the same singer performs the same aria under the direction of different conductors. Even Puccini's metronome markings are not always followed. This dissertation seeks to establish the originally intended tempos for the soprano arias in three of Puccini operas---La Boheme, Tosca and Madama Butterfly. By examining Puccini's autographs, the early editions, and many early recordings---especially those by the sopranos or conductors who worked with the composer or performed the arias during Puccini's lifetime---I hope to demonstrate that one can discover tempos for the arias that conform better than others to Puccini's musical/dramatic intentions. Additional sources of information incorporated into the dissertation have been the commentaries of Luigi Ricci's, Puccini's rehearsal pianist, contemporaneous and contemporary commentaries, as well as various personal letters and references. Based on the results of my research, I hope to determine workable guidelines for dealing with the tempo in these soprano arias by Puccini.","abstract_html":"In the various performances of Puccini's soprano arias, there are often disagreements regarding Puccini's tempo. The ambiguity of Puccini's tempo words and his indications of tempo changes have resulted in widely varying musical interpretations when the same roles or arias are performed by different singers, or when the same singer performs the same aria under the direction of different conductors. Even Puccini's metronome markings are not always followed. This dissertation seeks to establish the originally intended tempos for the soprano arias in three of Puccini operas---La Boheme, Tosca and Madama Butterfly. By examining Puccini's autographs, the early editions, and many early recordings---especially those by the sopranos or conductors who worked with the composer or performed the arias during Puccini's lifetime---I hope to demonstrate that one can discover tempos for the arias that conform better than others to Puccini's musical/dramatic intentions. Additional sources of information incorporated into the dissertation have been the commentaries of Luigi Ricci's, Puccini's rehearsal pianist, contemporaneous and contemporary commentaries, as well as various personal letters and references. Based on the results of my research, I hope to determine workable guidelines for dealing with the tempo in these soprano arias by Puccini.","abstract_has_math":false,"creators":["Zhong, Mei"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Hill, John Walter"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:54:34Z","date_published":"2015-09-25T22:54:34Z","updated_at":"2026-07-22T22:26:26Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI9921763"],"render_values":[{"text":"(MiAaPQ)AAI9921763","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85865","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Hill, John Walter"]},{"key":"dc:creator","label":"Author","values":["Zhong, Mei"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:54:34Z","10000-01-01","1999"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85865","(MiAaPQ)AAI9921763"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["In the various performances of Puccini's soprano arias, there are often disagreements regarding Puccini's tempo. The ambiguity of Puccini's tempo words and his indications of tempo changes have resulted in widely varying musical interpretations when the same roles or arias are performed by different singers, or when the same singer performs the same aria under the direction of different conductors. Even Puccini's metronome markings are not always followed. This dissertation seeks to establish the originally intended tempos for the soprano arias in three of Puccini operas---La Boheme, Tosca and Madama Butterfly. By examining Puccini's autographs, the early editions, and many early recordings---especially those by the sopranos or conductors who worked with the composer or performed the arias during Puccini's lifetime---I hope to demonstrate that one can discover tempos for the arias that conform better than others to Puccini's musical/dramatic intentions. Additional sources of information incorporated into the dissertation have been the commentaries of Luigi Ricci's, Puccini's rehearsal pianist, contemporaneous and contemporary commentaries, as well as various personal letters and references. Based on the results of my research, I hope to determine workable guidelines for dealing with the tempo in these soprano arias by Puccini.","Made available in DSpace on 2015-09-25T22:54:34Z (GMT). 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The ambiguity of Puccini's tempo words and his indications of tempo changes have resulted in widely varying musical interpretations when the same roles or arias are performed by different singers, or when the same singer performs the same aria under the direction of different conductors. Even Puccini's metronome markings are not always followed. This dissertation seeks to establish the originally intended tempos for the soprano arias in three of Puccini operas---La Boheme, Tosca and Madama Butterfly. By examining Puccini's autographs, the early editions, and many early recordings---especially those by the sopranos or conductors who worked with the composer or performed the arias during Puccini's lifetime---I hope to demonstrate that one can discover tempos for the arias that conform better than others to Puccini's musical/dramatic intentions. Additional sources of information incorporated into the dissertation have been the commentaries of Luigi Ricci's, Puccini's rehearsal pianist, contemporaneous and contemporary commentaries, as well as various personal letters and references. Based on the results of my research, I hope to determine workable guidelines for dealing with the tempo in these soprano arias by Puccini.","Made available in DSpace on 2015-09-25T22:54:34Z (GMT). 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