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Author: Library of Congress. Music Division
Publisher:
ISBN:
Category : Librettos
Languages : en
Pages : 516
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Book Description
Author: Library of Congress. Music Division
Publisher:
ISBN:
Category : Librettos
Languages : en
Pages : 516
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Book Description
Author: Oscar George Theodore Sonneck
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 516
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Book Description
Author: Library of Congress. Music Division
Publisher:
ISBN:
Category : Government publications
Languages : en
Pages : 1184
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Author:
Publisher: Editions Mardaga
ISBN:
Category :
Languages : en
Pages : 535
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Book Description
Author: Damien Colas
Publisher: Editions Mardaga
ISBN: 2870099932
Category : Opera
Languages : en
Pages : 536
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Book Description
L'opéra italien n'a cessé de s'enrichir au contact de la littérature française. Les échanges entre ces deux genres se caractérisent par le double jeu de proximité et de distance qui existe entre eux. La recherche en dramaturgie musicale éclaire les questions auxquelles sont confrontés traducteurs, librettistes et compositeurs dans leur travail de réécriture pour la scène lyrique italienne.
Author: Otto Jahn
Publisher:
ISBN:
Category :
Languages : en
Pages : 496
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Book Description
Author: Library of Congress
Publisher:
ISBN:
Category :
Languages : en
Pages : 332
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Book Description
Author: Library of Congress
Publisher:
ISBN:
Category :
Languages : en
Pages : 330
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Book Description
Author: Library of Congress
Publisher:
ISBN:
Category :
Languages : en
Pages : 334
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Book Description
Author: F. Noske
Publisher: Springer Science & Business Media
ISBN: 9401010870
Category : Music
Languages : en
Pages : 428
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Book Description
The studies collected in this volume deal with the interpretation of opera. In most cases the results are based on structural analysis, a concept which may require some clarification in this context. During the past de cade 'structure' and 'structural' have become particularly fashionable terms lacking exact denotation and used for the most divergent purposes. As employed here, structural analysis is concerned with such concepts as 'relationship', 'coherence' and 'continuity', more or less in contrast to formal analysis which deals with measurable material. In other words, I have analysed the structure of an opera by seeking and examining factors in the musico-dramatic process, whereas analysts of form are generally preoccupied with the study of elements contained in the musical object. Though admittedly artificial, the dichotomy of form and structure may elucidate the present situation with regard to the study of opera. Today, nearly one hundred years after the death of Wagner, the proclaimed anti thesis of Oper und Drama is generally taken for what it really was: a means to propagate the philosophy of its inventor. The conception of opera (whether 'continuous' or composed of 'numbers') as a special form of drama is no longer contested. Nevertheless musical scholarship has failed to draw the consequences from this view and few scholars realize the need to study general theory of drama and more specifically the dramatic experience.
