Download or read book Lettre de Jean Marie Charton Nadia Boulanger 1968 written by Jean-Marie Charton and published by . This book was released on 1968 with total page pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Lettre de Nadia Boulanger Merle Montgomery Madison Wisc 18 Juillet 1943 written by Nadia Boulanger and published by . This book was released on 1943 with total page 86 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Pierre Key s Music Year Book written by and published by . This book was released on 1925 with total page 392 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Alto written by Dan H. Marek and published by Rowman & Littlefield. This book was released on 2016-10-20 with total page 259 pages. Available in PDF, EPUB and Kindle. Book excerpt: Everyone is familiar with the words diva or prima donna, which have come to mean a (usually) outrageous operatic soprano, but there was a time when the star of the show was more often a contralto, or a soprano singing in today's mezzo-soprano range. This performer was referred to as an alto. In the 17th and 18th centuries, the male and female leading roles were likely to be sung by emasculated males, the alto castrati, although there were many great female altos during this period as well. The music for these fantastic artists, written by such composers as Porpora, Vinci, Hasse, and even Handel, has been largely forgotten. At the beginning of the 19th century, as the castrati died out, their roles were often assumed by female altos referred to as musici. New repertoire continued to be written for them by Rossini and others, but gradually, this musical tradition and technique was lost. Now, however, because of the talent and industry of such gifted artists as Marilyn Horne, Cecilia Bartoli, and Joyce DiDonato, and the sudden ease with which the performance of these forgotten works can be obtained, there is a resurgence of interest in the performance and preservation of this lost art. Alto: The Voice of Bel Canto examines the careers of nearly 320 great alto singers, including the great castrati, from the dawn of opera in 1597 to the present. The music of the composers who wrote for the alto voice is discussed along with musical examples and suggestions for listening. The exploration of the greatest altos’ careers and techniques offers inspiration for aspiring young singers as well as absorbing reading for the music lover who wants to know more about the fascinating world of opera.
Download or read book Quebec Identity written by Jocelyn Maclure and published by McGill-Queen's Press - MQUP. This book was released on 2003-07-04 with total page 232 pages. Available in PDF, EPUB and Kindle. Book excerpt: In articulating an alternative narrative Maclure reframes the debate, detaching the question of Quebec's identity from the question of sovereignty versus federalism and linking it closely to Quebec's cultural diversity and to the consolidation of its democratic sphere. In so doing, he rethinks the conditions of authenticity, leaves space for First Nations' self-determination and takes account of globalization. This edition has been expanded for English-Canadians with additional references as well as a glossary of names, institutions, and concepts.
Download or read book The Keys to French Opera in the Nineteenth Century written by Hervé Lacombe and published by Univ of California Press. This book was released on 2001-01-12 with total page 440 pages. Available in PDF, EPUB and Kindle. Book excerpt: A lively history of French opera in its cultural and historical context by one of France's leading musicologists.
Download or read book The Attentive Listener written by Harry Haskell and published by . This book was released on 1996-01-01 with total page 398 pages. Available in PDF, EPUB and Kindle. Book excerpt: This historical anthology shows the evolution of music journalism and its place in Western culture over the past three centuries and illustrates the richness, variety, and vitality of music criticism as both an intellectual enterprise and a literary genre. Because little music criticism in foreign languages is accessible to English- speaking readers, Harry Haskell has made a special point of exemplifying regional traditions of critical writing from throughout the Western world. Included in The Attentive Listener are articles not only from England, Western Europe, and the United States, but also from Russia, Eastern Europe, Scandinavia, Latin America, and Canada. Each of the one hundred articles here relates to one or more topics of central importance in music history, such as the nature of musical taste and criticism, operatic reform, cultural nationalism, the value of tradition, and the impact of modern technologies on composers, performers, and audiences. The Attentive Listener differs from previous anthologies of musical writings in its emphasis on journalistic criticism, its broadly international scope, and the thematic organization of the articles, most of which have not been translated or anthologized before. The writers represented include not only professional critics and scholars but also composers such as Debussy, Berlioz, Tchaikovsky, Janacek, and Virgil Thomson, and literary figures such as Heine, Boito, and Shaw.
Download or read book Op ra Comique written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2010-04-16 with total page 780 pages. Available in PDF, EPUB and Kindle. Book excerpt: Opéra-comique, like grand opéra, a specifically French genre of opera, emerged from the political changes and intellectual discussion that played a recurrent role in determining the nature of artistic expression and production in Paris from the late 17th until the mid-18th centuries. Opéra-comique is distinguished by its use of spoken dialogue to link the arias and sung parts, and its more restrained use of recitatives. It emerged out of the popular entertainments, called opéras-comiques en vaudevilles, that were a feature of the theatres held at the seasonal Parisian fairs of St Germain and St Laurent, and of the Comédie-Italienne. The similarity of the entertainments provided by the Comédie-Italienne and the fairs resulted in their amalgamation on 3 February 1756, when they established a theatre for their joint productions, the Hôtel Bourgogne. Their type of entertainment, combining existing popular tunes with spoken sections, lent its generic name to this house, which, regardless of its changing venue, would become known as the Opéra-Comique. The genre of opéra-comique exercised a powerful popular appeal because of its unique fusion of fixed musical form with fluid improvised dialogue. The well-known airs of the day, invariably strophic, came to be the genre’s staple medium of artistic expression—the couplets. But opéra-comique was not necessarily comic or light in nature. Indeed, the most famous example, Bizet’s Carmen (1875), is a tragedy. The genre, with its unique mixture of comedy and drama, its captivating musical fluency, its handling of serious and Romantic themes—expertly crafted by its most famous librettist Augustin-Eugène Scribe (1791-1861)—became universally popular in the masterpieces of its heyday between 1820 and 1870: Adrien Boieldieu’s La Dame blanche (1825), Daniel-François-Esprit Auber’s Fra Diavolo (1830) and Le Domino noir (1837), Ferdinand Hérold’s Zampa (1831) and Le Pré aux clercs (1832), Fromental Halévy’s L’Éclair (1835) and Ambroise Thomas’s Mignon (1866). The history of the opéra-comique between 1762 and 1915 reflects the political and cultural life of France—from the last days of the ancien régime, through the tumult of the Revolution and Napoleonic era, the July Monarchy and Second Empire, to the shattering defeat of France by Prussia in 1870. After this, apart from isolated works (by Bizet, Delibes, Offenbach, Massenet), new works by the younger generation of musicians now tended to be French adaptations of the Wagnerian aesthetic and the record of success is very thin. Hardly any native French works in this imitative mode premiered at the Opéra-Comique between 1870 and 1915 have survived—apart from Debussy’s unique Pelléas et Mélisande (1902). This study serves as a sourcebook for this very French genre, with details of forgotten composers, their operas—performance dates, plot summaries, the singers who created them, the names of important numbers in the works (from libretti and scores that are either now to be found only in the Paris libraries, or are lost completely), often with contemporary observations about the reception of particular works, the effectiveness of their dramaturgy and music. It provides a resource for operatic culture and convention, from the late 18th to the early 20th centuries. The record of the fortunes of the Opéra-Comique provides a way into the changing culture and aesthetic values of an age.
Download or read book Australian Intellectual Property Law written by Mark Davison and published by Cambridge University Press. This book was released on 2016 with total page 807 pages. Available in PDF, EPUB and Kindle. Book excerpt: Updated to include recent important developments in Australian intellectual property law, this is an essential text for students and professionals.
Download or read book Music Theater and Cultural Transfer written by Annegret Fauser and published by University of Chicago Press. This book was released on 2009-12-15 with total page 450 pages. Available in PDF, EPUB and Kindle. Book excerpt: Opera and musical theater dominated French culture in the 1800s, and the influential stage music that emerged from this period helped make Paris, as Walter Benjamin put it, the “capital of the nineteenth century.” The fullest account available of this artistic ferment and its international impact, Music, Theater, and Cultural Transfer explores the diverse institutions that shaped Parisian music and extended its influence across Europe, the Americas, and Australia. The contributors to this volume, who work in fields ranging from literature to theater to musicology, focus on the city’s musical theater scene as a whole rather than on individual theaters or repertories. Their broad range enables their collective examination of the ways in which all aspects of performance and reception were affected by the transfer of works, performers, and management models from one environment to another. By focusing on this interplay between institutions and individuals, the authors illuminate the tension between institutional conventions and artistic creation during the heady period when Parisian stage music reached its zenith.
Download or read book Second Empire Opera written by T. J. Walsh and published by Calder Publications Limited. This book was released on 1981 with total page 404 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The MLA Style Sheet written by Modern Language Association of America and published by . This book was released on 1970 with total page 48 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book A Memoir of Michael William Balfe written by Charles Lamb Kenney and published by BoD – Books on Demand. This book was released on 2024-01-27 with total page 322 pages. Available in PDF, EPUB and Kindle. Book excerpt: Reprint of the original, first published in 1875.
Download or read book Poetry and the Body written by John Vernon and published by Urbana : University of Illinois Press. This book was released on 1979 with total page 176 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Fictional Transfigurations of Jesus written by Theodore Ziolkowski and published by Wipf and Stock Publishers. This book was released on 2002-04-12 with total page 327 pages. Available in PDF, EPUB and Kindle. Book excerpt: Many novels revolve round the figure of Jesus. Some of the finest of them are defined by Ziolkowski as fictional transfigurations of Jesus. They share a modern hero patterned on Jesus the culture-hero, whose life consisted of the motifs of the last supper, lonely agony, betrayal, trial, and crucifixion. The aesthetic challenge of adapting this most familiar story for their generation has attracted an unusual number of great writers, among them Papini, Kazantzakis, Hesse, Mann, Greene, Faulkner, and Gore Vidal. The form began with the new image of a humanized Jesus which developed in the 19th century. The interest in religious paranoia and hysteria at the turn of the century instantly expanded its potentialities as novelists began to explore the theme of christomania. This was followed by studies of Jesus as a mythic figure and then Marxist-oriented portraits of Comrade Jesus. Finally the form became inverted into parody in the Fifth Gospels in which not Jesus, but Judas, is the central figure.
Download or read book Chant of Saints written by Michael S. Harper and published by Urbana : University of Illinois Press. This book was released on 1979 with total page 528 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Courtship Novel 1740 1820 written by Katherine Sobba Green and published by University Press of Kentucky. This book was released on 2014-07-11 with total page 193 pages. Available in PDF, EPUB and Kindle. Book excerpt: The period from her first London assembly to her wedding day was the narrow span of autonomy for a middle-class Englishwoman in the eighteenth and early nineteenth centuries. For many women, as Katherine Sobba Green shows, the new ideal of companionate marriage involved such thoroughgoing revisions in self-perception that a new literary form was needed to represent their altered roles. That the choice among suitors ideally depended on love and should not be decided on any other grounds was a principal theme among a group of heroine-centered novels published between 1740 and 1820. During these decades, some two dozen writers, most of them women, published such courtship novels. Specifically aiming them at young women readers, these novelists took as their common purpose the disruption of established ideas about how dutiful daughters and prudent young women should comport themselves during courtship. Reading a wide range of primary texts, Green argues that the courtship novel was a feminized genre—written about, by, and for women. She challenges contemporary readers to appreciate the subtleties of early feminism in novels by Eliza Haywood, Mary Collyer, Charlotte Lennox, Samuel Richardson, Frances Brooke, Fanny Burney, Mary Wollstonecraft, Jane West, Mary Brunton, Maria Edgeworth, and Jane Austen—to recognize that these courtship novelists held in common a desire to reimagine the subject positions through which women understood themselves.
