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Inventing the Business of Opera
Inventing the Business of Opera explores public opera in its infancy, bringing to life the men and women who successfully established the new genre on the stages of Venice during the seventeenth century. All of the components necessary to opera production are highlighted, from the financial backing, to the libretto and the score, to the singers, dancers, the scenery, and the costumes.
Toward a Materialist Conception of Music History
This book argues for the relevance, appropriateness, and usefulness of historical materialism to the musicological project. It interrogates the history of encounters between Marxism and music studies — both within and without the Soviet sphere — before staging the missed encounter between classical musicology and Second International Marxism. It concludes with a framework for understanding style history in terms of changes in the forces and relations of musical production.
Readying Cavalli's Operas for the Stage
After more than three centuries of silence, the voice of Francesco Cavalli is being heard loud and clear on the operatic stages of the world. The coincidence of productions at La Scala (Milan) and Covent Garden (London) in the same month (September 2008) of two different operas signals a new stage in the recovery of these extraordinary works, confined until now to special venues committed to 'early music'-opera festivals, conservatory, and university productions. The works of the composer who is credited with having invented the genre of opera as we know it are finally enjoying a renaissance. A new edition of Cavalli's twenty-eight operas is in preparation, and the composer and his works are...
Writing about Music
Where do you place the hyphen in "Beethoven" if it breaks between two lines? How do you cite John Coltrane’s album A Love Supreme? Is it "premiere" or "première"? The answers and much more can be found in this definitive resource for authors, students, editors, concert producers—anyone who deals with music in print. Extending the principles devised for the classical repertoires, this revised and expanded edition now includes examples from world music, rock, jazz, popular music, and cinema. This essential volume covers some of the thorniest issues of musical discourse: how to go about describing musical works and procedures in prose, the rules for citations in notes and bibliography, and...
Humanities
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Nino Pirrotta
As a scholarly discipline and doctoral-level univ. course, musicology (the academic study of music in its historical and anthropological contexts) is about a century old. This is the first full-scale portrait of one of musicology’s most distinguished practitioners. Nino Pirrotta (1908-98) was educated in Palermo and Florence, but was not able to study music history systematically, so he created his own distinctive vision of the discipline. After appointments at the conservatories of Palermo and Rome, Pirrotta was named head of the music library and Prof. of Music at Harvard (1956-71) and thereafter Prof. of Music History at the Univ. of Rome (1972-78). Cummings analyzes and interprets Pirrotta’s writings and identifies the features that characterize the celebrated humanist. Illus.
The Palgrave Handbook of German Romantic Philosophy
This Handbook provides a comprehensive and authoritative analysis of the philosophical dimensions of German Romanticism, a movement that challenged traditional borders between philosophy, poetry, and science. With contributions from leading international scholars, the collection places the movement in its historical context by both exploring its links to German Idealism and by examining contemporary, related developments in aesthetics and scientific research. A substantial concluding section of the Handbook examines the enduring legacy of German romantic philosophy. Key Features: • Highlights the contributions of German romantic philosophy to literary criticism, irony, cinema, religion, an...
The Oxford Handbook of Opera
Fifty of the world's most respected scholars cast opera as a fluid entity that continuously reinvents itself in a reflection of its patrons, audience, and creators.
Italian Opera in the Age of the American Revolution
Polzonetti reveals how revolutionary America inspired eighteenth-century European audiences, and how it can still inspire and entertain us.
