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dc.contributor.advisor Bailey, Walter B.
dc.creatorCollins, Willa J.
dc.date.accessioned 2009-06-04T06:51:16Z
dc.date.available 2009-06-04T06:51:16Z
dc.date.issued 2001
dc.identifier.urihttp://hdl.handle.net/1911/17410
dc.description.abstract Composer Adolphe Adam is typically recognized and acknowledged only through Giselle, his most famous ballet. However, Adam's ninth ballet, Le Diable a quatre, though rarely remembered, is also a historically significant work. At the time of its premier in 1845, the story of this morality-comedy had been familiar to the Parisian public for nearly a century. Yet despite its "unromantic" qualities, Le Diable a quatre surpassed some of its contemporaries in longevity and remained in the Opera's repertory for a substantial period of time. In this study I offer a comparison of Le Diable a quatre with contemporary ballets, focusing on several historical perspectives and on critical and popular aesthetics of ballet and ballet music. Additionally, I include an overview of the score of Le Diable a quatre, a discussion of the historical significance of national dance in the Romantic ballet, and a discussion of Adam's significance within the musical canon.
dc.format.extent 135 p.
dc.format.mimetype application/pdf
dc.language.iso eng
dc.subjectDance
Music
dc.title Historical perspectives on Adolphe Adam's "Le Diable a quatre"
dc.type.genre Thesis
dc.type.material Text
thesis.degree.department Music
thesis.degree.discipline Music
thesis.degree.grantor Rice University
thesis.degree.level Masters
thesis.degree.name Master of Music


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