1.

Wagner complained that the problem with opera is that the music has become the end and the drama has become the means. Wagner
sought to write an opera where the music was the means and the drama the end, but he said they should both be equal. Is this a
contradictory statement? After viewing the musical drama, do you feel that the music or the drama had a larger impact on you, and
why?
If you feel that the drama had a larger impact is it possible that Wagner succeeded in his goal of using the music to enhance the drama,
i.e. the music affected your experience and understanding, yet you were not conscious of it?
2. Professor Hinton mentioned Wagner’s use of the “infinite melody.” Thus, Wagner must compose transitions between his scenes.
How does he shift scenes without making a stark cut in the music and breaking the infinite melody? What is the purpose of the
infinite melody?
3. Professor Hinton used the term “plastic motifs of nature” because this shows how the leitmotifs are malleable. Wagner will
manipulate them to tell the audience something. How is this different from the traditional operatic way of communicating ideas and
feelings to the audience? Is this another example of how the drama is equal to the music?
4. After Loge and Wotan steal Albreich’s turnhelm, they go back up to Valhalla. While traveling upwards, Wagner plays Albreich’s
theme, just as he did when Loge and Wotan traveled down to Albreich’s place. Why does he play this leitmotif instead of the Valhalla
one?

1. Wagner complained that the problem with opera is that the music has become the end and the drama has become the means. Wagner
sought to write an opera where the music was the means and the drama the end, but he said they should both be equal. Is this a
contradictory statement? After viewing the musical drama, do you feel that the music or the drama had a larger impact on you, and
why?
If you feel that the drama had a larger impact is it possible that Wagner succeeded in his goal of using the music to enhance the drama,
i.e. the music affected your experience and understanding, yet you were not conscious of it?
2. Professor Hinton mentioned Wagner’s use of the “infinite melody.” Thus, Wagner must compose transitions between his scenes.
How does he shift scenes without making a stark cut in the music and breaking the infinite melody? What is the purpose of the
infinite melody?
3. Professor Hinton used the term “plastic motifs of nature” because this shows how the leitmotifs are malleable. Wagner will
manipulate them to tell the audience something. How is this different from the traditional operatic way of communicating ideas and
feelings to the audience? Is this another example of how the drama is equal to the music?
4. After Loge and Wotan steal Albreich’s turnhelm, they go back up to Valhalla. While traveling upwards, Wagner plays Albreich’s
theme, just as he did when Loge and Wotan traveled down to Albreich’s place. Why does he play this leitmotif instead of the Valhalla
one?

1. Wagner complained that the problem with opera is that the music has become the end and the drama has become the means. Wagner
sought to write an opera where the music was the means and the drama the end, but he said they should both be equal. Is this a
contradictory statement? After viewing the musical drama, do you feel that the music or the drama had a larger impact on you, and
why?
If you feel that the drama had a larger impact is it possible that Wagner succeeded in his goal of using the music to enhance the drama,
i.e. the music affected your experience and understanding, yet you were not conscious of it?
2. Professor Hinton mentioned Wagner’s use of the “infinite melody.” Thus, Wagner must compose transitions between his scenes.
How does he shift scenes without making a stark cut in the music and breaking the infinite melody? What is the purpose of the
infinite melody?
3. Professor Hinton used the term “plastic motifs of nature” because this shows how the leitmotifs are malleable. Wagner will
manipulate them to tell the audience something. How is this different from the traditional operatic way of communicating ideas and
feelings to the audience? Is this another example of how the drama is equal to the music?
4. After Loge and Wotan steal Albreich’s turnhelm, they go back up to Valhalla. While traveling upwards, Wagner plays Albreich’s
theme, just as he did when Loge and Wotan traveled down to Albreich’s place. Why does he play this leitmotif instead of the Valhalla
one?

1. Wagner complained that the problem with opera is that the music has become the end and the drama has become the means. Wagner
sought to write an opera where the music was the means and the drama the end, but he said they should both be equal. Is this a
contradictory statement? After viewing the musical drama, do you feel that the music or the drama had a larger impact on you, and
why?
If you feel that the drama had a larger impact is it possible that Wagner succeeded in his goal of using the music to enhance the drama,
i.e. the music affected your experience and understanding, yet you were not conscious of it?
2. Professor Hinton mentioned Wagner’s use of the “infinite melody.” Thus, Wagner must compose transitions between his scenes.
How does he shift scenes without making a stark cut in the music and breaking the infinite melody? What is the purpose of the
infinite melody?
3. Professor Hinton used the term “plastic motifs of nature” because this shows how the leitmotifs are malleable. Wagner will
manipulate them to tell the audience something. How is this different from the traditional operatic way of communicating ideas and
feelings to the audience? Is this another example of how the drama is equal to the music?
4. After Loge and Wotan steal Albreich’s turnhelm, they go back up to Valhalla. While traveling upwards, Wagner plays Albreich’s
theme, just as he did when Loge and Wotan traveled down to Albreich’s place. Why does he play this leitmotif instead of the Valhalla
one?