
Contents
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Approaches to Accentuation Approaches to Accentuation
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The Rhetoric of Accentuation The Rhetoric of Accentuation
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Violated Accents and Caricature Violated Accents and Caricature
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Nineteenth-Century German Prosodic Standards Nineteenth-Century German Prosodic Standards
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The Marker Gets Marked by a Master: Beckmesser’s “Serenade” The Marker Gets Marked by a Master: Beckmesser’s “Serenade”
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Scanning in Italian Opera: Two Instances in I due Foscari Scanning in Italian Opera: Two Instances in I due Foscari
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Notes Notes
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Bibliography Bibliography
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Manuscripts Manuscripts
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Early Printed Librettos Early Printed Librettos
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9 Versification
Get accessAndreas Giger is Professor of Music at Louisiana State University. His research interests have concentrated on nineteenth-century Italian opera and the work of Leonard Bernstein. He is co-editor (with Thomas J. Mathiesen) of Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-First Century (Nebraska, 2002), founder of the Internet database Saggi musicali italiani, author of Verdi and the French Aesthetic: Verse, Stanza, and Melody in Nineteenth-Century Opera (Cambridge, 2008), and editor of the critical edition of Verdi’s I due Foscari for The Works of Giuseppe Verdi (Chicago/Milan, forthcoming).
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Published:07 April 2015
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Abstract
To a nineteenth-century opera composer, the related terms of versification and prosody implied not only a set of rules to which to adhere but a set of rhetorical choices with distinct dramatic consequences. This chapter discusses samples from the French, German, and Italian repertory, focusing on Verdi’s I due Foscari, Les vêpres siciliennes, and Don Carlos; Adam’s Le brasseur de Preston; Wagner’s Die Meistersinger von Nürnberg; and Weber’s Der Freischütz, interpreting the choices at a composer’s disposal. It shows that these choices can underscore the rhetoric of an aria or phrase, contribute to the caricature of a character, play a role in determining what version of a particular text should be the principal one, and contribute to an understanding of the reasons that an opera is more effective in its original language than in translation.
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