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Often several motives would be sounded simultaneously to create a complex, interwoven tapestry of sound and meaning, or a motive would be altered slightly to suggest some change in the condition of its dramatic counterpart. Wagner's development of this material was remarkable. Used in another way, the motives could convey such subtleties as the true intent or thoughts of a character, even when the words he sang said something else: If a treachery motive is played as the villain is mouthing assurances, the audience would know, even if his victim did not, that he cannot be trusted. These motives were worked into the orchestral material in a stream-of -consciousness manner, and with a little foreknowledge of their significance a listener could understand the basic story line without even hearing the singers. When one of these dramatic entities or concepts appeared in the story, it was attended by its own special music.
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There could be such a motive for each person, thing or concept in the story: a spear motive, a sword motive, an earth motive, a magic fire motive, a redemption-through -love motive, etc. It involved assigning a brief melodic theme or harmonic sequence (a motive) a specific dramatic meaning. An important tool in achieving this integration was the Leitmotiv (leading motive), a device that strongly bonded dramatic meaning to a musical idea. He wrote both the text and the music and shaped them, in the spirit of the time, as GESAMTKUNSTWERKEN. Wagner felt he had reached a higher level of integration between music and drama than the term opera conveyed, and preferred to style his works 'dramas'. His ideas developed in detail and application over his lifetime, and it is their most advanced state that is summarized here. The German genius, Richard Wagner (1813-1883), dominated the first half of this period, and no other person, before or since, has had such a profound effect on opera and singing. A Brief History of Singing CONTINUOUS MUSIC 1850 - 1920