The leitmotif technique in Puccini's La Bohème, Tosca and Madama Butterfly

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Date
1994-04-01Author
He, Min
Type
ThesisDegree Level
DoctoralMetadata
Show full item recordAbstract
The leitmotif technique has been used extensively in
operas. The leitmotif normally represents a person, an
emotion, an idea or a dramatic situation. The early form of
leitmotif, known as reminiscence motif, occurred notably in
Gretry's opera, Richard Coeur de Lion (1784). Later, Mozart
and Mehul used the reminiscence motif in their operas. In
these works, the reminiscence motif is simply repeated
without much change in rhythm and harmony. In the works of
Weber and Berlioz, a different leitmotif technique was
developed. This leitmotif was altered in subsequent
appearances in terms of rhythm, melody and harmony.
Before Wagner, the leitmotif was used independently and
was not associated with other motifs. In Wagner's musical
dramas, especially in Der Ring Des Nibelungen, the leitmotif
technique was given special consideration and emphasis.
Several motifs appeared together to present complex emotions
or situations. The whole Ring is bound by a web of
leitmotifs.
Compared to Wagner's leitmotif technique, Puccini's
approach to the leitmotif is simple. In the three operas:
La Boheme, Tosca and Madama Butterfly, most of the
leitmotifs are used in a manner that is similar to the
reminiscence motif. That is, in their reappearances, the motifs retain generally their melodic shape but sometimes
there are changes in rhythm, harmony, and tempo. There are
a few motifs that resemble Weber's technique. Wagner's
treatment of the leitmotif, however, is not found in these
operas.