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Of all the genres in which Frank Zappa wrote, perhaps the most elusive and least examined are his contributions to the operatic world. Drawing upon scores and album recordings, as well as quotations by Zappa, critical reviews, and secondary articles, I plan to examine the social commentary of Frank Zappa in both Thing-Fish and Joe’s Garage.
A comparative analysis of these compositions should reveal both the consistent use of symbolic allusions that Zappa labeled ‘conceptual continuity’ in the operas as well as a clear understanding of how Zappa himself differentiated between the two. I also hope to gain an understanding of whether Zappa himself actually intended these for the stage, or rather meant to be ‘conceptual,’ and thus not actualizable,

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