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Music as mimetic representation and performative act: Semiramide riconosciuta and musical construction of sexuality and gender
Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
2008 (English)In: STM-Online, Vol. 11, 43- p.Article in journal (Refereed) Published
Abstract [en]

The purpose of this article has been to investigate the question of the musical construction of sexuality and gender in the opera Semiramide riconosciuta (Venice 1745), set by Johann Adolf Hasse to the drama by Pietro Metastasio. Apart from analysing the music in relation to the drama, the method has been to analyse and to interpret the music in relation to the concept of performativity. The investigation has consisted of a comparative analysis between the two main characters in the opera, and between the two singers performing these characters.

At the two high points of the performance, when the audience most likely were attentive to what happened on stage, there seems to have been a performative manifestation of the two main characters musically. The singers did different things to audience and the audience did different things to the singers and indirectly also to the musical constructions of the characters. In this way Hasse, who provided the singers with vocally suitable material, musically confirmed the message of Metastasio's drama: woman connected with passion and man connected with reason.

Place, publisher, year, edition, pages
2008. Vol. 11, 43- p.
Keyword [en]
opera, gender, sexuality, performativity
National Category
Musicology
Identifiers
URN: urn:nbn:se:su:diva-14301OAI: oai:DiVA.org:su-14301DiVA: diva2:180821
Available from: 2008-08-22 Created: 2008-08-22 Last updated: 2011-01-10Bibliographically approved

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