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Author: Giuseppe Mazzini
Publisher:
ISBN:
Category :
Languages : it
Pages : 0
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Book Description
Author: Giuseppe Mazzini
Publisher:
ISBN:
Category :
Languages : it
Pages : 0
Get Book Here
Book Description
Author: Giuseppe Mazzini
Publisher: Edwin Mellen Press
ISBN:
Category : Music
Languages : en
Pages : 168
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Book Description
Political thinker, philosopher, patriot, and republican, Giuseppe Mazzini (1805-1872) sought solace from his intense activity as a political activist and writer by singing to his own guitar accompaniment. A genuine music lover, in 1836, Mazzini published a pamphlet (40 pages) entitled Filosofia della musica in which he denounced the condition into which music had fallen and suggested the remedy for its resurgence -- this time as a social art. The committed composer cannot restrict himself to writing notes and chords, but must understand the vast influence which [opera] could exercise on society. He should not renounce the idea in favor of the form; progressive operatic music must abandon the rigid rules of the classicists, to take on characteristic tint and historical reality; the idea of opera as entertainment must change to one of opera as a mission; the chorus, which portrays the people, must be used more. Little known among English-speaking musical scholars, Mazzini's work is presented here in a version edited and annotated by Franco Sciannameo. It comprises (1) a Foreword by American leading musicologist Lawrence Kramer, (2) a historical introduction which also offers a crit
Author: Giuseppe Mazzini
Publisher: Tolmino
ISBN:
Category : Music
Languages : it
Pages : 84
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Book Description
Author: Cormac Newark
Publisher: Oxford University Press, USA
ISBN: 0190224207
Category : Music
Languages : en
Pages : 639
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Book Description
Opera has always been controversial, not only because of how vastly expensive it is to produce. It has historically been a vital and complex mixture of high art and commerce, socially elite and popular or middle-class, the new and the increasingly old. When a city wants a new landmark building, an opera house is very often the solution: why should this still be the case? The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence. This new collection addresses questions that are key to opera's past, present and future. Why is the art form apparently so arthritically canonical, with the top ten titles, all more than a century old, accounting for nearly a quarter of all performances world-wide? Why is this top-heavy system of production becoming still more restrictive, even while the repertory is seemingly expanding, notably to include early music? Why did the operatic canon evolve so differently from that of concert music? And why has that evolution attracted so comparatively little attention from scholars? Why, finally, if opera houses all over the world are dutifully honoring their audiences' loyalty to these favorite works, are they having to struggle so hard financially? Answers to these and other problems are offered here by 26 musicologists, historians, and industry professionals working in a wide range of contexts. Topics range from the seventeenth century to the present day, and from Russia to England and continental Europe to the Americas. In an effort to reflect the contested nature of most of the issues facing opera, each topic is addressed by two essays, introduced jointly by the respective authors, and followed by a jointly compiled list of further reading. These paired essays complement each other in different ways: for example, by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions and expectations, and breathes fresh air into the fields of music and cultural history.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443800996
Category : Music
Languages : en
Pages : 610
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Book Description
Giacomo Meyerbeer remains an enigma. Until the First World War he was one of the most famous of all composers. this Reader hopes to reflect something of the immense fame, prestige and love in which this composer was once held, the voices of doubt and dismissal that began to be heard even in his lifetime, and the enduring witness to his fame and worth evinced by those who have continued to believe in him in the face of the encroaching collective disparagement. Since the centenary of his death in 1964, there has been growing rediscovery of his life and re-evaluation of his art. While the revival of his work is not universal, at least a slow but steady process of recovery and exploration has begun.The forty contributions chosen for this Reader follow a chronological course, from the days of Meyerbeer's international acclaim after the premieres of his first two French operas, through the critical discussion of his art that began to take place during the mid-years of the nineteenth century, to the growing hostility induced by the advent of Wagner and his ideological following. The line of enquiry then leads into the dark days after the First World War when critical hostility was at its peak, on to the more reflective mood emerging during the 1950s, to the period of reassessment heralded by the centenary of his death in 1964. Finally, it surveys the critical rediscovery that was initiated by the bicentenary of his birth in 1991, a process that is still developing apace.The Reader also presents a series of portraits of the composer, and some images from his operas, an icongraphical commentary running parallel to the texts.
Author: Carolyn Abbate
Publisher: W. W. Norton & Company
ISBN: 0393089533
Category : Music
Languages : en
Pages : 648
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Book Description
“The best single volume ever written on the subject, such is its range, authority, and readability.”—Times Literary Supplement Why has opera transfixed and fascinated audiences for centuries? Carolyn Abbate and Roger Parker answer this question in their “effervescent, witty” (Die Welt, Germany) retelling of the history of opera, examining its development, the musical and dramatic means by which it communicates, and its role in society. Now with an expanded examination of opera as an institution in the twenty-first century, this “lucid and sweeping” (Boston Globe) narrative explores the tensions that have sustained opera over four hundred years: between words and music, character and singer, inattention and absorption. Abbate and Parker argue that, though the genre’s most popular and enduring works were almost all written in a distant European past, opera continues to change the viewer— physically, emotionally, intellectually—with its enduring power.
Author: Peter le Huray
Publisher: CUP Archive
ISBN: 9780521359016
Category : Music
Languages : en
Pages : 420
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Book Description
This is an abridged, paperback edition of Peter le Huray and James Day's invaluable anthology of writings concerned with the role of music in eighteenth- and early-nineteenth-century aesthetics. This volume retains all the most important and significant items from the original hardcover edition. Over fifty writers are represented here, including such major figures as Rousseau, Kant, Schlegel, Schopenhauer and Hegel, and the useful introductions and biographical details of the original are also retained. The aesthetic literature of the period is profuse but this carefully edited volume offers a balanced selection which illuminates the ways people experienced music and how they came to an understanding in particular of the new music of their day.
Author: Stephen C. Meyer
Publisher: Oxford University Press
ISBN: 0190658460
Category : Music
Languages : en
Pages : 844
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Book Description
The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.
Author: Gavin Williams
Publisher: Oxford University Press
ISBN: 019091677X
Category : Music
Languages : en
Pages : 329
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Book Description
What does sound, whether preserved or lost, tell us about nineteenth-century wartime? Hearing the Crimean War: Wartime Sound and the Unmaking of Sense pursues this question through the many territories affected by the Crimean War, including Britain, France, Turkey, Russia, Italy, Poland, Latvia, Dagestan, Chechnya, and Crimea. Examining the experience of listeners and the politics of archiving sound, it reveals the close interplay between nineteenth-century geographies of empire and the media through which wartime sounds became audible--or failed to do so. The volume explores the dynamics of sound both in violent encounters on the battlefield and in the experience of listeners far-removed from theaters of war, each essay interrogating the Crimean War's sonic archive in order to address a broad set of issues in musicology, ethnomusicology, literary studies, the history of the senses and sound studies.
Author: Peter Brand
Publisher: Cambridge University Press
ISBN: 9780521666220
Category : Literary Criticism
Languages : en
Pages : 738
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Book Description
Italy possesses one of the richest and most influential literatures of Europe, stretching back to the thirteenth century. This substantial history of Italian literature provides a comprehensive survey of Italian writing since its earliest origins. Leading scholars describe and assess the work of writers who have contributed to the Italian literary tradition, including Dante, Petrarch and Boccaccio, the Renaissance humanists, Machiavelli, Ariosto and Tasso, pioneers and practitioners of commedia dell'arte and opera, and the contemporary novelists Calvino and Eco. The Cambridge History of Italian Literature sets out to be accessible to the general reader as well as to students and scholars: translations are provided, along with a map, chronological chart and substantial bibliographies.
