Starting in the late 18th century a development is observable in
which a new theatrical aesthetic of dramatic speech exploiting the
musical potential of the voice went hand in hand with an abundance
of melo-dramatic forms. Cutting across the boundaries of genre and
the customary distinction between spoken art and music,
theoreticians and practitioners explored the declamatory use of
speech as a musical phenomenon in its own right. The present
interdisciplinary study examines the development of this historical
combination of the speaking voice and the musical arts,
concentrating in particular on the profusion of different forms of
'Melodram' in the period in question.
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