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dc.contributor.advisorBartlette, Christopher
dc.contributor.authorGraves, Victoria
dc.contributor.otherBaylor University.en_US
dc.date.accessioned2012-04-26T03:54:49Z
dc.date.available2012-04-26T03:54:49Z
dc.date.copyright2012
dc.date.issued2012-04-25
dc.identifier.urihttp://hdl.handle.net/2104/8313
dc.description.abstractIn the eighteenth century, French art song was dominated by the romance, which was simple in its construction and set strophic poems that dealt with love and gallantry. After the Lieder of Franz Schubert (1797-1828) were introduced into France, a desire for a more developed and expressive French art song was stirred. Hector Berlioz (1803-1869) was one of the first composers to call these new songs mélodies. However, labeling vocal works from this period as exclusively romance or mélodie is difficult, because the two styles have similar characteristics. This thesis explores Berlioz’s transformation from the romance to the mélodie through four revisions of the song, La captive. His setting of La captive is then compared to settings of the same poem by his contemporaries—as well as other songs by Berlioz—in order to demonstrate Berlioz’s evolutionary compositional style.en_US
dc.language.isoen_USen_US
dc.rightsBaylor University projects are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. Contact libraryquestions@baylor.edu for inquiries about permission.en_US
dc.subjectTransitioning from romance to mélodie: An Analysis of Hector Berlioz’s La captive.en_US
dc.titleTransitioning from romance to mélodie: An Analysis of Hector Berlioz’s La captiveen_US
dc.typeThesisen_US
dc.rights.accessrightsWorldwide accessen_US
dc.contributor.departmentMusicen_US
dc.contributor.schoolshonors collegeen_US


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