This paper is going to compare two genres of musical expression - opera and musical. The prehistory of these genres is different so we will try to discuss it and find these differences between each other. …
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In comparing Musical and Opera, one can base the argument relating to their source, historical background, development and their evolution. However, this paper shall discuss the key features that compare Musicals from the Operas. In the present time, people fail to provide a clear distinction between the two, and instead define any form of entertainment performance with music as musicals, and some famous music singers confuse their musicals with Opera (http://www.aria-database.com/).
Musical theaters currently referred, as ‘Musicals’ is a style used in theater, whereby the songs, dances, and oral dialogue integrate to narrate a story. In the contemporary world, a musical takes various forms as long as it aims at narrating a story. For that reason, musical could be a stage performance, a film/television presentation and it combines the modern and the known music styles and discourse in narrating the entire story (http://www.aria-database.com/). Opera is classified under a certain form of theater, in which a musical group and singers incorporates sheet music and “libretto” also known as the text in contemporary language to narrate a story. On the other hand, performance of musicals takes place in theatres. Presentation of musicals could be staged or televised. ...
Another key difference between Musicals and operas is in terms of language used. While performing musicals, the audience understands the performance language. For instance, Musicals developed in England and America is performed in English regardless of whether the developer comes from non- English-speaking nations. Together with that, the singing, dancing, and dialogue follow the rules of the popular music, popular dance styles, and the modern dialogues. Musicals have three major characteristic; the brain, the heart and courage (Kagen, 1968). The Brain – in order to perform musicals, the developer should have required intelligence and necessary writing style. On the other hand, the heart calls for the genuine feeling while developing the story, and lastly, courage calls for one to have the ability, creativity, and boldness in presenting something. This is very different from an Opera, in that, there is comprehensive training of the singers, classical singers in this context, and they are required to memorize and present the song without making any translations (http://opera.stanford.edu/main.html). In addition, there are numerous well-known opera styles in different languages, for instance, the Italian Opera, the German Opera, Russian opera, French opera, and lastly English–language opera. The performance of each Opera takes a different style (http://opera.stanford.edu/main.html). Based on their production, musicals and Operas portray many differences. First, Opera upholds music as the livelihood of production, whilst musical depends on text written and the story narrated. In the modern time, the Operas are established on classical music. It relates the way one would visualize the Mozart’s classical music
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“Compare Musical and Opera Essay Example | Topics and Well Written Essays - 1000 Words”, n.d. https://studentshare.org/music/1463539-compare-musical-and-opera.
In the modern popular culture,the terms Musical and Opera are often interchangeably used to denote any art form intermixing dramatic works and musical score.For example, Kaspar Hauser,a Musical performed at The Flea recently,was called “A Foundling’s Opera”, clearly indicating the need for a thorough awareness of the difference between Musical and Opera.
Opera was first invented in the 17th century and since then has undergone numerous changes but at the same time has retained its original flair (Metropolitan Opera Guild, 1982). Opera can be considered as a classical form of entertainment when compared to films which were invented in the late 19th century.
In other kinds of operas, music is usually continuous throughout the act. In others, opera music is broken into discrete numbers or pieces that are separated either by spoken dialogue or recitative. Recitative is a dramatic kind of singing that is close to speech.
Beijing Opera Culture relates to the specific way of life of a given group of people. It relates to the language of communication, beliefs, norms, social activities, arts & sciences, spirituality, social interaction, and line of thought. Also known as, Peking opera, Beijing Opera represents the finest combination of literature, music, mime, dance, martial arts, fine arts, in China.
A further refinement would come if such things as the differing musical characters of the Spanish and Argentine tangos were distinguished, but this is about as far as Orientalism can go, because representations rely upon culturally learned recognition. The peculiar achievement of Orientalism is, of course, that it gives rise to misrecognition.
The aim of this paper is to discuss the basics of each musical composition and understand what they are all about, as well as to compare and contrast the two, and by doing this we will not only be able to attain a better understanding on each composition, but as well on who wrote each as well as the similarities and differences that are present between the two.
Musical theatre has a long history comprising traditional forms and traditional structures. The art of writing musical is always stretching and involving new art forms. It is possible to say that musical theatre is researching the unexplored spaces.
So much so that these two works of art tend to configure a modern definition of love and sexual identity.
The modern notions of love and sexual identity tend to rebel against the social and natural constraints, which
The main ways that Ligeti uses humor in the opera are through a musical parody of existing operas, through heavy-handed comedy, and through its use of dark humor. This use of humor is not restricted to Ligeti's opera. As Boyden and Kimberly have stated, dark humor is 'the dominant element in his theatrical works,' including his opera Le Grand Macabre.
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