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Author: Society of the Friends of Music, N.Y.
Publisher:
ISBN:
Category :
Languages : en
Pages : 228
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Author: Society of the Friends of Music, N.Y.
Publisher:
ISBN:
Category :
Languages : en
Pages : 228
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Author: Minneapolis Symphony Orchestra
Publisher:
ISBN:
Category : Concert programs
Languages : en
Pages : 452
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Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 572
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Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 1674
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Author: Giuseppe Verdi
Publisher:
ISBN:
Category : Operas
Languages : en
Pages : 64
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Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 492
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Author: Giovanni Emmanuele BIDERA
Publisher:
ISBN:
Category :
Languages : en
Pages : 46
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Author: Ellen Rosand
Publisher: Univ of California Press
ISBN: 0520254260
Category : Music
Languages : en
Pages : 712
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Book Description
"In this elegantly constructed study of the early decades of public opera, the conflicts and cooperation of poets, composers, managers, designers, and singers—producing the art form that was soon to sweep the world and that has been dominant ever since—are revealed in their first freshness."—Andrew Porter "This will be a standard work on the subject of the rise of Venetian opera for decades. Rosand has provided a decisive contribution to the reshaping of the entire subject. . . . She offers a profoundly new view of baroque opera based on a solid documentary and historical-critical foundation. The treatment of the artistic self-consciousness and professional activities of the librettists, impresarios, singers, and composers is exemplary, as is the examination of their reciprocal relations. This work will have a positive effect not only on studies of 17th-century, but on the history of opera in general."—Lorenzo Bianconi
Author:
Publisher:
ISBN:
Category : Italian drama
Languages : en
Pages : 544
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Author: F. Noske
Publisher: Springer Science & Business Media
ISBN: 9401010870
Category : Music
Languages : en
Pages : 428
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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.
