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New essays by noted authorities on music and related arts in early
modern Italy, giving special attention to musical sources, poetry,
performance, and visual arts. The rich cultural environment of
early modern Italy inspired a vast array of musical innovations:
this was the first age of the virtuoso performer, the era that
witnessed the beginnings of opera, and a moment that saw the
intersection and cross-fertilization of madrigals and songs of all
sorts. Word, Image, and Song: Essays on Early Modern Italy presents
a broad range of approaches to the study of music and related arts
in that era. Topics include musical source studies, issues of
performance, poetry and linguistics, influences on music from the
classical tradition, and the interconnectedness of music and visual
art. Their points of departure include well-known musical workssuch
as Monteverdi's madrigals, librettos of seventeenth-century operas,
the poetry of Giambattista Marino, and the paintings of Titian and
his contemporaries. Contributors: Jennifer Williams Brown, Mauro
Calcagno, Alan Curtis, Suzanne G. Cusick, Ruth I. DeFord, Dinko
Fabris, Beth L. Glixon, Jonathan E. Glixon, Barbara Russano
Hanning, Wendy Heller, Robert R. Holzer, Deborah Howard, Giuseppe
Mazzotta, Margaret Murata, David Rosand, Susan ParkerShimp, Gary
Tomlinson, Alvaro Torrente, Andrew H. Weaver. Rebecca Cypess is
Assistant Professor of Music at the Mason Gross School of the Arts
at Rutgers, the State University of New Jersey. Beth L. Glixon is
Instructor in Musicology at the University of Kentucky School of
Music. Nathan Link is NEH Associate Professor of Music at Centre
College.
Applies the notion of musical "voice" to diverse repertoires,
ranging from the operas and cantatas of Handel to the autograph
albums of nineteenth-century collector Charlotte de Rothschild. The
concept of musical voice has been a subject of controversy in
recent decades, as the primacy of the composer's place in the
creation of the work has been called into question. The essays in
Word, Image, and Song: Essays onMusical Voices take the notion of
musical voice as a starting point, and apply it in varying ways to
diverse repertoires and music-historical circumstances, ranging
from the operas and cantatas of Handel to the autograph albums of
nineteenth-century collector Charlotte de Rothschild. Rather than
attributing interpretive control to the composer, performer, or
audience alone, these essays present a range of interpretive
strategies with respect to the various voices that one might hear
and understand as emerging from a musical work: the composer's
voice, the performer's voice, the patron's voice, the collector's
voice, and the social or receptive voice. Contributors: Bathia
Churgin, Rebecca Cypess, Roger Freitas, Philip Gossett, Ellen T.
Harris, Joseph Kerman, Nathan Link, Daniel R. Melamed, Giovanni
Morelli, Kristina Muxfeldt, Ruth Smith, Ruth A. Solie. Rebecca
Cypess is Assistant Professor of Music at the Mason Gross School of
the Arts at Rutgers, the State University of New Jersey. Beth L.
Glixon is instructor in musicology at the University of Kentucky
School of Music. Nathan Link is NEH Associate Professor of Music at
Centre College.
What should we consider when thinking about the relationship
between an onstage performance and the story the performance tells?
A Poetics of Handel's Operas explores this question by analyzing
the narratives of Handel's operas in relation to the rich
representational fabric of performance used to convey them. Nathan
Link notes that in most storytelling genres, the audience can
naturally discern between a story and the way that story is
represented: with film, for example, the viewer would recognize
that a character hears neither her own voiceover nor the ambient
music that accompanies it, whereas in discussions of opera, some
audiences may be distracted by the seemingly artificial nature of
such conventions as characters singing their dialogue. Link
proposes that when engaging with opera, distinguishing between the
performance we see and hear on the stage and the story represented
offers a meaningful approach to engaging with and interpreting the
work. Handel's operas are today the most-performed works in the
Baroque opera seria tradition. This genre, with its intricate
dramaturgy and esoteric conventions, stands to gain much from an
investigation into the relationships between the onstage
performance and the story to which that performance directs us. In
his analysis, Link offers theoretical studies on opera and
narratological theories of literature, drama, and film, providing
rich engagement with Handel's work and what it conveys about the
relationship between text, story, and performance.
New essays by noted authorities explore music and related arts in
early modern Italy, the concept of musical voice, the role of
singing in musical life, and the many ways of experiencing music.
This two-volume set explores the relationship between words and
music -- and the roles they play in culture and society -- from the
Renaissance through the nineteenth century. The first volume, Word,
Image, and Song: Essays onEarly Modern Italy, presents a broad
range of approaches to the study of music and related arts during
that era. Chapters are devoted to such topics as musical source
studies, issues of performance, poetry, and linguistics, influences
on music from the Classical tradition, and the interconnectedness
of music and visual art. Volume 2, Word, Image, and Song: Essays on
Musical Voices, takes the notion of musical voice as a starting
point and applies it in varying ways to diverse repertoires and
music-historical circumstances, ranging from the operas and
cantatas of Handel to the autograph albums of nineteenth-century
collector Charlotte de Rothschild. Essays in this volume present a
range of interpretive strategies with respect to the "voices" that
one might hear and understand as emerging from a musical work, from
the historical contexts of music, and from the reception of music
and musical ideaswithin societies. Rebecca Cypess is assistant
professor of music at the Mason Gross School of the Arts at
Rutgers, the State University of New Jersey. Beth L. Glixon is
instructor in musicology at the University of Kentucky School of
Music. Nathan Link is NEH Associate Professor of Music at Centre
College.
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