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There can be little doubt that opera and emotion are inextricably
linked. From dramatic plots driven by energetic producers and
directors to the conflicts and triumphs experienced by all
associated with opera's staging to the reactions and critiques of
audience members, emotion is omnipresent in opera. Yet few
contemplate the impact that the customary cultural practices of
specific times and places have upon opera's ability to move
emotions. Taking Australia as a case study, this two-volume
collection of extended essays demonstrates that emotional
experiences, discourses, displays and expressions do not share
universal significance but are at least partly produced, defined,
and regulated by culture. Spanning approximately 170 years of opera
production in Australia, the authors show how the emotions
associated with the specific cultural context of a nation steeped
in egalitarian aspirations and marked by increasing levels of
multiculturalism have adjusted to changing cultural and social
contexts across time. Volume I adopts an historical, predominantly
nineteenth-century perspective, while Volume II applies historical,
musicological, and ethnological approaches to discuss subsequent
Australian operas and opera productions through to the twenty-first
century. With final chapters pulling threads from the two volumes
together, Opera, Emotion, and the Antipodes establishes a model for
constructing emotion history from multiple disciplinary
perspectives.
There can be little doubt that opera and emotion are inextricably
linked. From dramatic plots driven by energetic producers and
directors to the conflicts and triumphs experienced by all
associated with opera's staging to the reactions and critiques of
audience members, emotion is omnipresent in opera. Yet few
contemplate the impact that the customary cultural practices of
specific times and places have upon opera's ability to move
emotions. Taking Australia as a case study, this two-volume
collection of extended essays demonstrates that emotional
experiences, discourses, displays and expressions do not share
universal significance but are at least partly produced, defined,
and regulated by culture. Spanning approximately 170 years of opera
production in Australia, the authors show how the emotions
associated with the specific cultural context of a nation steeped
in egalitarian aspirations and marked by increasing levels of
multiculturalism have adjusted to changing cultural and social
contexts across time. Volume I adopts an historical, predominantly
nineteenth-century perspective, while Volume II applies historical,
musicological, and ethnological approaches to discuss subsequent
Australian operas and opera productions through to the twenty-first
century. With final chapters pulling threads from the two volumes
together, Opera, Emotion, and the Antipodes establishes a model for
constructing emotion history from multiple disciplinary
perspectives.
There can be little doubt that opera and emotion are inextricably
linked. From dramatic plots driven by energetic producers and
directors to the conflicts and triumphs experienced by all
associated with opera's staging to the reactions and critiques of
audience members, emotion is omnipresent in opera. Yet few
contemplate the impact that the customary cultural practices of
specific times and places have upon opera's ability to move
emotions. Taking Australia as a case study, this two-volume
collection of extended essays demonstrates that emotional
experiences, discourses, displays and expressions do not share
universal significance but are at least partly produced, defined,
and regulated by culture. Spanning approximately 170 years of opera
production in Australia, the authors show how the emotions
associated with the specific cultural context of a nation steeped
in egalitarian aspirations and marked by increasing levels of
multiculturalism have adjusted to changing cultural and social
contexts across time. Volume I adopts an historical, predominantly
nineteenth-century perspective, while Volume II applies historical,
musicological, and ethnological approaches to discuss subsequent
Australian operas and opera productions through to the twenty-first
century. With final chapters pulling threads from the two volumes
together, Opera, Emotion, and the Antipodes establishes a model for
constructing emotion history from multiple disciplinary
perspectives.
Opera has been performed in Australia for more than two hundred
years, yet none of the operas written before the Second World War
have become part of the repertoire. It is only in the late 1970s
and early 1980s that there is evidence of the successful systematic
production of indigenous opera. The premiere of Voss by Richard
Meale and David Malouf in 1986 was a watershed in the staging and
reception of new opera, and there has been a diverse series of new
works staged in the last thirty years, not only by the national
company, but also by thriving regional institutions. The emergence
of a thriving operatic tradition in contemporary Australia is
inextricably enmeshed in Australian cultural consciousness and
issues of national identity. In this study of eighteen
representative contemporary operas, Michael Halliwell elucidates
the ways in which the operas reflect and engage with the issues
facing contemporary Australians. Stylistically these eighteen
operas vary greatly. The musical idiom is diverse, ranging from
works in a modernist idiom such as The Ghost Wife, Whitsunday, Fly
Away Peter, Black River and Bride of Fortune, to Voss, Batavia,
Bliss, Lindy, Midnight Son, The Riders, The Summer of the
Seventeenth Doll and The Children's Bach being works which straddle
several musical styles. A number of operas draw strongly on musical
theatre including The Eighth Wonder, Pecan Summer, The Rabbits and
Cloudstreet, and Love in the Age of Therapy is couched in a
predominantly jazz idiom. While some of them are overtly political,
all, at least tangentially, deal with recent cultural politics in
Australia and offer sharply differing perspectives.
Opera has been performed in Australia for more than two hundred
years, yet none of the operas written before the Second World War
have become part of the repertoire. It is only in the late 1970s
and early 1980s that there is evidence of the successful systematic
production of indigenous opera. The premiere of Voss by Richard
Meale and David Malouf in 1986 was a watershed in the staging and
reception of new opera, and there has been a diverse series of new
works staged in the last thirty years, not only by the national
company, but also by thriving regional institutions. The emergence
of a thriving operatic tradition in contemporary Australia is
inextricably enmeshed in Australian cultural consciousness and
issues of national identity. In this study of eighteen
representative contemporary operas, Michael Halliwell elucidates
the ways in which the operas reflect and engage with the issues
facing contemporary Australians. Stylistically these eighteen
operas vary greatly. The musical idiom is diverse, ranging from
works in a modernist idiom such as The Ghost Wife, Whitsunday, Fly
Away Peter, Black River and Bride of Fortune, to Voss, Batavia,
Bliss, Lindy, Midnight Son, The Riders, The Summer of the
Seventeenth Doll and The Children's Bach being works which straddle
several musical styles. A number of operas draw strongly on musical
theatre including The Eighth Wonder, Pecan Summer, The Rabbits and
Cloudstreet, and Love in the Age of Therapy is couched in a
predominantly jazz idiom. While some of them are overtly political,
all, at least tangentially, deal with recent cultural politics in
Australia and offer sharply differing perspectives.
There can be little doubt that opera and emotion are inextricably
linked. From dramatic plots driven by energetic producers and
directors to the conflicts and triumphs experienced by all
associated with opera's staging to the reactions and critiques of
audience members, emotion is omnipresent in opera. Yet few
contemplate the impact that the customary cultural practices of
specific times and places have upon opera's ability to move
emotions. Taking Australia as a case study, this two-volume
collection of extended essays demonstrates that emotional
experiences, discourses, displays and expressions do not share
universal significance but are at least partly produced, defined,
and regulated by culture. Spanning approximately 170 years of opera
production in Australia, the authors show how the emotions
associated with the specific cultural context of a nation steeped
in egalitarian aspirations and marked by increasing levels of
multiculturalism have adjusted to changing cultural and social
contexts across time. Volume I adopts an historical, predominantly
nineteenth-century perspective, while Volume II applies historical,
musicological, and ethnological approaches to discuss subsequent
Australian operas and opera productions through to the twenty-first
century. With final chapters pulling threads from the two volumes
together, Opera, Emotion, and the Antipodes establishes a model for
constructing emotion history from multiple disciplinary
perspectives.
The origin ofthe International Acoustical Imaging Symposium series
can be traced to 1967, when a meeting on acoustical holography was
held in C alifornia. In those days, acoustical holography was at
the leading edge of research but, as the importance of this subject
waned, so the title of the series was changed from Acoustical
Holography to Acoustical Imaging in 1978. The early Symposia were
held at various venues in the United States. In 1980. the series
became international, with the Symposium that year taking place in
Cannes in France. The pattern now is to try to met alternately in
the USA and in another part of the world so that active researchers
everywhere can conveniently attend at a reasonably high frequency.
It was a great privilege for us in Bristol in the United Kingdom to
be chosen to host the 25th Symposium, which convened on 19 March
2000 and spread over four days. We were blessed not only by good
weather, but also by the attendance ofnearly 100 pa rticipants who
came from 17 c ountries. A large number of papers were accepted for
presentation, either orally or as posters. Whether an oral
presentation or a poster, all were considered to have equal merit,
and no distinction is made between them in the published
proceedings. There were no parallel sessions, so every participant
could attend every presentation. The re sultant disciplinary cross
fertilisation maintained the t radition of past Symposia.
The origin ofthe International Acoustical Imaging Symposium series
can be traced to 1967, when a meeting on acoustical holography was
held in C alifornia. In those days, acoustical holography was at
the leading edge of research but, as the importance of this subject
waned, so the title of the series was changed from Acoustical
Holography to Acoustical Imaging in 1978. The early Symposia were
held at various venues in the United States. In 1980. the series
became international, with the Symposium that year taking place in
Cannes in France. The pattern now is to try to met alternately in
the USA and in another part of the world so that active researchers
everywhere can conveniently attend at a reasonably high frequency.
It was a great privilege for us in Bristol in the United Kingdom to
be chosen to host the 25th Symposium, which convened on 19 March
2000 and spread over four days. We were blessed not only by good
weather, but also by the attendance ofnearly 100 pa rticipants who
came from 17 c ountries. A large number of papers were accepted for
presentation, either orally or as posters. Whether an oral
presentation or a poster, all were considered to have equal merit,
and no distinction is made between them in the published
proceedings. There were no parallel sessions, so every participant
could attend every presentation. The re sultant disciplinary cross
fertilisation maintained the t radition of past Symposia.
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