|
Showing 1 - 4 of
4 matches in All Departments
Cathy Berberian (1925-1983) was a vocal performance artist, singer
and composer who pioneered a way of composing with the voice in the
musical worlds of Europe, North America and beyond. As a modernist
muse for many avant-garde composers, Cathy Berberian went on to
embody the principles of postmodern thinking in her work, through
vocality. She re-defined the limits of composition and challenged
theories of the authorship of the musical score. This volume
celebrates her unorthodox path through musical landscapes,
including her approach to performance practice, gender
performativity, vocal pedagogy and the culturally-determined
borders of art music, the concert stage, the popular LP and the
opera industry of her times. The collection features primary
documentation-some published in English for the first time-of
Berberian's engagement with the philosophy of voice, new music,
early music, pop, jazz, vocal experimentation and technology that
has come to influence the next generation of singers such as Theo
Bleckmann, Susan Botti, Joan La Barbara, Rinde Eckert Meredith
Monk, Carol Plantamura, Candace Smith and Pamela Z. Hence, this
timely anthology marks an end to the long period of silence about
Cathy Berberian's championing of a radical rethinking of the
musical past through a reclaiming of the voice as a multifaceted
phenomenon. With a Foreword by Susan McClary.
The representation of non-Western cultures in opera has long been a
focus of critical inquiry. Within this field, the diverse
relationships between opera and First Nations and Indigenous
cultures, however, have received far less attention. Opera Indigene
takes this subject as its focus, addressing the changing historical
depictions of Indigenous cultures in opera and the more
contemporary practices of Indigenous and First Nations artists. The
use of 're/presenting' in the title signals an important
distinction between how representations of Indigenous identity have
been constructed in operatic history and how Indigenous artists
have more recently utilized opera as an interface to present and
develop their cultural practices. This volume explores how operas
on Indigenous subjects reflect the evolving relationships between
Indigenous peoples, the colonizing forces of imperial power, and
forms of internal colonization in developing nation-states. Drawing
upon postcolonial theory, ethnomusicology, cultural geography and
critical discourses on nationalism and multiculturalism, the
collection brings together experts on opera and music in Canada,
the Americas and Australia in a stimulating comparative study of
operatic re/presentation.
Cathy Berberian (1925-1983) was a vocal performance artist, singer
and composer who pioneered a way of composing with the voice in the
musical worlds of Europe, North America and beyond. As a modernist
muse for many avant-garde composers, Cathy Berberian went on to
embody the principles of postmodern thinking in her work, through
vocality. She re-defined the limits of composition and challenged
theories of the authorship of the musical score. This volume
celebrates her unorthodox path through musical landscapes,
including her approach to performance practice, gender
performativity, vocal pedagogy and the culturally-determined
borders of art music, the concert stage, the popular LP and the
opera industry of her times. The collection features primary
documentation-some published in English for the first time-of
Berberian's engagement with the philosophy of voice, new music,
early music, pop, jazz, vocal experimentation and technology that
has come to influence the next generation of singers such as Theo
Bleckmann, Susan Botti, Joan La Barbara, Rinde Eckert Meredith
Monk, Carol Plantamura, Candace Smith and Pamela Z. Hence, this
timely anthology marks an end to the long period of silence about
Cathy Berberian's championing of a radical rethinking of the
musical past through a reclaiming of the voice as a multifaceted
phenomenon. With a Foreword by Susan McClary.
The representation of non-Western cultures in opera has long been a
focus of critical inquiry. Within this field, the diverse
relationships between opera and First Nations and Indigenous
cultures, however, have received far less attention. Opera Indigene
takes this subject as its focus, addressing the changing historical
depictions of Indigenous cultures in opera and the more
contemporary practices of Indigenous and First Nations artists. The
use of 're/presenting' in the title signals an important
distinction between how representations of Indigenous identity have
been constructed in operatic history and how Indigenous artists
have more recently utilized opera as an interface to present and
develop their cultural practices. This volume explores how operas
on Indigenous subjects reflect the evolving relationships between
Indigenous peoples, the colonizing forces of imperial power, and
forms of internal colonization in developing nation-states. Drawing
upon postcolonial theory, ethnomusicology, cultural geography and
critical discourses on nationalism and multiculturalism, the
collection brings together experts on opera and music in Canada,
the Americas and Australia in a stimulating comparative study of
operatic re/presentation.
|
You may like...
Book Lovers
Emily Henry
Paperback
(4)
R245
R192
Discovery Miles 1 920
Free Association
Steven Boykey Sidley
Paperback
(1)
R260
R203
Discovery Miles 2 030
The Playlist
Melina Lewis
Paperback
R239
Discovery Miles 2 390
The Passenger
Cormac McCarthy
Paperback
R365
R285
Discovery Miles 2 850
Vuurvoel
Elmarie Viljoen-Massyn
Paperback
R320
R275
Discovery Miles 2 750
|