Research Paper on:
Opera's Evolution After 1945

Unformatted Sample Text from the Research Paper:
dodo bird and the carrier pigeon? In other words, do traditional musical forms have relevance in the current era? To answer this question involves examining the scope of post-World  War II music, which is an extremely broad and diverse subject. Therefore, to narrow the focus, this examination will look at only one of the classical forms of music --  the opera -- and examine how opera has evolved over the closing decades of the twentieth century, with an eye towards how it is being utilized -- or not utilized  -- by todays serious composers. Whittal (1999) points out that those voices that have attempted to argue that opera in the modern age is an anachronism have never been  able support this position with much conviction. Some twentieth century composers in their youth dismissed opera only to later feel themselves drawn to this form, which offers the "challenge of  developing a personal response to its opportunities for large-scale structuring" (Whittal, 1999, p. 72). However, before looking how specific composers met the "challenge" of opera, it is beneficial to note  the trends that influenced post-1945 music. What is opera? Basically an opera is a drama, which is sung (Machlis, 1970). To produce an opera combines the talents and resources of  vocal and instrumental music, soloists, ensembles, and chorus, orchestra and ballet, with poetry and drama, acting and pantomime, scenery and costumes (Machlis, 1970). To create unity out of what is  easily chaos has occupied some of the best musical minds in history. The newcomer to opera may find that it requires a "suspension of disbelief" that stretches ones credulity. After  all, human beings do not generally sing to each other rather then speak. This provides the basic question about opera that has been asked since its inception: "how can an