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Masque and Opera in England, 1656-1688 presents a comprehensive
study of the development of court masque and through-composed opera
in England from the mid-1650s to the Revolution of 1688-89. In
seeking to address the problem of generic categorization within a
highly fragmentary corpus for which a limited amount of
documentation survives, Walkling argues that our understanding of
the distinctions between masque and opera must be premised upon a
thorough knowledge of theatrical context and performance
circumstances. Using extensive archival and literary evidence,
detailed textual readings, rigorous tabular analysis, and
meticulous collation of bibliographical and musical sources, this
interdisciplinary study offers a host of new insights into a body
of work that has long been of interest to musicologists, theatre
historians, literary scholars and historians of Restoration court
and political culture, but which has hitherto been imperfectly
understood. A companion volume will explore the phenomenon of
"dramatick opera" and its precursors on London's public stages
between the early 1660s and the first decade of the eighteenth
century.
Masque and Opera in England, 1656-1688 presents a comprehensive
study of the development of court masque and through-composed opera
in England from the mid-1650s to the Revolution of 1688-89. In
seeking to address the problem of generic categorization within a
highly fragmentary corpus for which a limited amount of
documentation survives, Walkling argues that our understanding of
the distinctions between masque and opera must be premised upon a
thorough knowledge of theatrical context and performance
circumstances. Using extensive archival and literary evidence,
detailed textual readings, rigorous tabular analysis, and
meticulous collation of bibliographical and musical sources, this
interdisciplinary study offers a host of new insights into a body
of work that has long been of interest to musicologists, theatre
historians, literary scholars and historians of Restoration court
and political culture, but which has hitherto been imperfectly
understood. A companion volume will explore the phenomenon of
"dramatick opera" and its precursors on London's public stages
between the early 1660s and the first decade of the eighteenth
century.
The ten essays in Literature and the Arts explore the
intermedial plenitude of eighteenth-century English culture,
honoring the memory of James Anderson Winn, whose work demonstrated
how seeing that interplay of the arts and literature was essential
to a full understanding of Restoration and eighteenth-century
English culture. Scenery, machinery, music, dance, and texts
transformed one another, both enriching and complicating generic
distinctions. Artists were alive to the power of the arts to
reflect and shape reality, and their audience was quick to turn to
the arts as performative pleasures and critical lenses through
which to understand a changing world. This collection's eminent
authors discuss estate design, musicalized theater, the visual
spectacle of musical performance, stage machinery and set designs,
the social uses of painting and singing, drama’s reflection of a
transformed military infrastructure, and the arts of memory and of
laughter.
The ten essays in Literature and the Arts explore the
intermedial plenitude of eighteenth-century English culture,
honoring the memory of James Anderson Winn, whose work demonstrated
how seeing that interplay of the arts and literature was essential
to a full understanding of Restoration and eighteenth-century
English culture. Scenery, machinery, music, dance, and texts
transformed one another, both enriching and complicating generic
distinctions. Artists were alive to the power of the arts to
reflect and shape reality, and their audience was quick to turn to
the arts as performative pleasures and critical lenses through
which to understand a changing world. This collection's eminent
authors discuss estate design, musicalized theater, the visual
spectacle of musical performance, stage machinery and set designs,
the social uses of painting and singing, drama’s reflection of a
transformed military infrastructure, and the arts of memory and of
laughter.
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