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Ancient Drama in Music for the Modern Stage
Opera was invented at the end of the sixteenth century in imitation of the supposed style of delivery of ancient Greek tragedy, and, since then, operas based on Greek drama have been among the most important in the repertoire. This collection of essays by leading authorities in the fields of Classics, Musicology, Dance Studies, English Literature, Modern Languages, and Theatre Studies provides an exceptionally wide-ranging and detailed overview of the relationship between the two genres. Since tragedies have played a much larger part than comedies in this branch of operatic history, the volume mostly concentrates on the tragic repertoire, but a chapter on musical versions of Aristophanes' Lysistrata is included, as well as discussions of incidental music, a very important part of the musical reception of ancient drama, from Andrea Gabrieli in 1585 to Harrison Birtwistle and Judith Weir in the late twentieth and early twenty-first centuries.
Reimagining Greek Tragedy on the American Stage
"Only Helene Foley could have written this book. The combination of meticulous classical scholarship with a lifetime of accumulated experience of the US contemporary arts scene has produced a stylish, exciting, and energising read. Mandatory reading for anyone who loves either Greek or American Theatre.”—Edith Hall, author of Greek Tragedy: Suffering under the Sun “This eagerly anticipated volume covers enormous ground with great skill and insight. It demonstrates unequivocally that the ancient plays have not simply been central to life within the American academy; they have also routinely been at the forefront of innovation and debate within the American theatre.”—Fiona McIntosh, Director of the Archive of Performances of Greek and Roman Drama, University of Oxford. "A magnificent work, impressive in its scope and learning, yet accessible and engaging—an extraordinary, indeed indispensable contribution to reception studies of Greek tragedy."—Mary Kay Gamel, Professor of Classics, Comparative Literature, and Theater Arts, University of California, Santa Cruz
The Reception of Aeschylus’ Plays through Shifting Models and Frontiers
The Reception of Aeschylus' Plays through Shifting Models and Frontiers addresses the need for an integrated approach to the study and staging of Aeschylus’ plays. It offers an invigorating discussion about the transmission and reception of his plays and explores the interrelated tasks of editing, translating, adapting and remaking them for the page and the stage. The volume seeks to reshape current debates about the place of his tragedies in the curriculum and the repertory in a scholarly manner that is accessible and innovative. Each chapter makes a significant and original contribution to its selected topic, but the collective strength of the volume rests on its simultaneous appeal to readers in theatre studies, classical studies, performance studies, comparative studies, translation studies, adaptation studies, and, naturally, reception studies.
The Politics of Appropriation
This book explores the intersection of music and Hellenism in nineteenth-century Germany.It shows how productions such as that of the Prussian court of Sophocles' Antigone with music by Felix Mendelssohn reflect an effort by the rulers who commissioned them to appropriate the legacy of Greece for the creation of a German cultural and national identity.
Dance and Drama in French Baroque Opera
Examines the evolving practices in music, librettos, choreographed dance, and staging throughout the history of French Baroque opera.
Classicism of the Twenties
This title defines the theory and practice of 'classicism' as practised in the 1920s by a number of composers, writers, and artists, setting it off against other movements of the period that are customarily grouped together under the general heading of 'modernism'. It argues that classicism is a more precise term than neo-classicism during this period, since every classicism from antiquity to the present shares certain common qualities as well as characteristics of its own time.
British Musical Modernism
The first in-depth historical analysis of British art music post-1945, providing a group-portrait of eleven composers ranging from avant-garde to pop.
Historical Dictionary of Baroque Music
Named a Library Journal Best Reference of 2023 - "Bravo! An invaluable source for scholars and concertgoers.” - Library Journal In the history of the Western musical tradition, the Baroque period traditionally dates from the turn of the 17th century to 1750. The beginning of the period is marked by Italian experiments in composition that attempted to create a new kind of secular musical art based upon principles of Greek drama, quickly leading to the invention of opera. The ending is marked by the death of Johann Sebastian Bach in 1750 and the completion of George Frideric Handel’s last English oratorio, Jephtha, the following year. The Historical Dictionary of Baroque Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on composers, instruments, cities, and technical terms. This book is an excellent resource for students, researchers, and anyone wanting to know more about baroque music.
Christian Wolff
In this first interpretive narrative of the life and work of Christian Wolff, Michael Hicks and Christian Asplund trace the influences and sensibilities of a contemporary composer's atypical career path and restless imagination. Written in full cooperation with Wolff, including access to his papers, this volume is a much-needed introduction to a leading avant-garde composer still living, writing music, and speaking about his own work. Wolff has pioneered various compositional and notational idioms, including overtly political music, indeterminacy, graphic scores, and extreme virtuosity. Trained as a classicist rather than a musician, Wolff has never quite had both feet in the rarefied world ...
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.
