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Opera Outside the Box: Notions of Opera in Nineteenth-Century
Britain addresses operatic "experiences" outside the opera houses
of Britain during the nineteenth century. The essays adopt a
variety of perspectives exploring the processes through which opera
and ideas about opera were cultivated and disseminated, by
examining opera-related matters in publication and performance, in
both musical and non-musical genres, outside the traditional
approaches to transmission of operatic works and associated
concepts. As a group, they exemplify the broad array of questions
to be grappled with in seeking to identify commonalities that might
shed light in new and imaginative ways on the experiences and
manifestations of opera and notions of opera in Victorian Britain.
In unpacking the significance, relevance, uses, and impacts of
opera within British society, the collection seeks to enhance
understanding of a few of the manifold ways in which the population
learned about and experienced opera, how audiences and the broader
public understood the genre and the aesthetics surrounding it, how
familiarity with opera played out in British culture, and how
British customs, values, and principles affected the genre of opera
and perceptions of it.
The Politics of Verdi's Cantica treats a singular case study of the
use of music to resist oppression, combat evil, and fight
injustice. Cantica, better known as Inno delle nazioni / Hymn of
the Nations, commissioned from Italy's foremost composer to
represent the newly independent nation at the 1862 London
International Exhibition, served as a national voice of pride and
of protest for Italy across two centuries and in two very different
political situations. The book unpacks, for the first time, the
full history of Verdi's composition from its creation, performance,
and publication in the 1860s through its appropriation as
purposeful social and political commentary and its perception by
American broadcast media as a 'weapon of art' in the mid twentieth
century. Based on largely untapped primary archival and other
documentary sources, journalistic writings, and radio and film
scripts, the project discusses the changing meanings of the
composition over time. It not only unravels the complex history of
the work in the nineteenth century, of greater significance it
offers the first fully documented study of the performances, radio
broadcast, and filming of the work by the renowned Italian
conductor Arturo Toscanini during World War II. In presenting new
evidence about ways in which Verdi's music was appropriated by
expatriate Italians and the US government for cross-cultural
propaganda in America and Italy, it addresses the intertwining of
Italian and American culture with regard to art, politics, and
history; and investigates the ways in which the press and broadcast
media helped construct a musical weapon that traversed ethnic,
aesthetic, and temporal boundaries to make a strong political
statement.
The Politics of Verdi's Cantica treats a singular case study of the
use of music to resist oppression, combat evil, and fight
injustice. Cantica, better known as Inno delle nazioni / Hymn of
the Nations, commissioned from Italy's foremost composer to
represent the newly independent nation at the 1862 London
International Exhibition, served as a national voice of pride and
of protest for Italy across two centuries and in two very different
political situations. The book unpacks, for the first time, the
full history of Verdi's composition from its creation, performance,
and publication in the 1860s through its appropriation as
purposeful social and political commentary and its perception by
American broadcast media as a 'weapon of art' in the mid twentieth
century. Based on largely untapped primary archival and other
documentary sources, journalistic writings, and radio and film
scripts, the project discusses the changing meanings of the
composition over time. It not only unravels the complex history of
the work in the nineteenth century, of greater significance it
offers the first fully documented study of the performances, radio
broadcast, and filming of the work by the renowned Italian
conductor Arturo Toscanini during World War II. In presenting new
evidence about ways in which Verdi's music was appropriated by
expatriate Italians and the US government for cross-cultural
propaganda in America and Italy, it addresses the intertwining of
Italian and American culture with regard to art, politics, and
history; and investigates the ways in which the press and broadcast
media helped construct a musical weapon that traversed ethnic,
aesthetic, and temporal boundaries to make a strong political
statement.
How can music withstand the death and destruction brought on by
war? Global conflicts of the 20th century fundamentally transformed
not only national boundaries, power relations, and global
economies, but also the arts and culture of every nation involved.
An important, unacknowledged aspect of these conflicts is that they
have unique musical soundtracks. Music in World War II explores how
music and sound took on radically different dimensions in the
United States and Europe before, during, and after World War II.
Additionally, the collection examines the impact of radio and film
as the disseminators of the war's musical soundtrack. Contributors
contend that the European and American soundtrack of World War II
was largely one of escapism rather than the lofty, solemn, heroic,
and celebratory mode of "war music" in the past. Furthermore, they
explore the variety of experiences of populations forced from their
homes and interned in civilian and POW camps in Europe and the
United States, examining how music in these environments played a
crucial role in maintaining ties to an idealized "home" and
constructing politicized notions of national and ethnic identity.
This fascinating and well-constructed volume of essays builds
understanding of the role and importance of music during periods of
conflict and highlights the unique aspects of music during World
War II.
How can music withstand the death and destruction brought on by
war? Global conflicts of the 20th century fundamentally transformed
not only national boundaries, power relations, and global
economies, but also the arts and culture of every nation involved.
An important, unacknowledged aspect of these conflicts is that they
have unique musical soundtracks. Music in World War II explores how
music and sound took on radically different dimensions in the
United States and Europe before, during, and after World War II.
Additionally, the collection examines the impact of radio and film
as the disseminators of the war's musical soundtrack. Contributors
contend that the European and American soundtrack of World War II
was largely one of escapism rather than the lofty, solemn, heroic,
and celebratory mode of "war music" in the past. Furthermore, they
explore the variety of experiences of populations forced from their
homes and interned in civilian and POW camps in Europe and the
United States, examining how music in these environments played a
crucial role in maintaining ties to an idealized "home" and
constructing politicized notions of national and ethnic identity.
This fascinating and well-constructed volume of essays builds
understanding of the role and importance of music during periods of
conflict and highlights the unique aspects of music during World
War II.
Opens up significant paths for conversation about how musical
concepts, practices and products were shaped by interrelationships
between culture and commerce. Art and money, culture and commerce,
have long been seen as uncomfortable bedfellows. Indeed, the
connections between them have tended to resist full investigation,
particularly in the musical sphere. The Idea of Art Music in
aCommercial World, 1800-1930, is a collection of essays that
present fresh insights into the ways in which art music, i.e.,
classical music, functioned beyond its newly established aesthetic
purpose (art for art's sake) and intersected with commercial
agendas in nineteenth- and early twentieth-century culture.
Understanding how art music was portrayed and perceived in a
modernizing marketplace, and how culture and commerce interacted,
are the book's main goals. In this volume, international scholars
from musicology and other disciplines address a range of unexplored
topics, including the relationship of sacred music with commerce in
the mid nineteenth century, the roleof music in urban cultural
development in the early twentieth, and the marketing of musical
repertories, performers and instruments across time and place, to
investigate what happened once art music began to be understood as
needing to exist within the wider framework of commercially
oriented culture. Historical case studies present contrasting
topics and themes that not only vary geographically and
ideologically but also overlap in significant ways, pushing back
the boundaries of the 'music as commerce' discussion. Through
diverse, multidisciplinary approaches, the volume opens up
significant paths for conversation about how musical concepts,
practices and products were shaped byinterrelationships between
culture and commerce. CHRISTINA BASHFORD is Associate Professor of
Musicology at the University of Illinois. ROBERTA MONTEMORRA MARVIN
is Director of the Opera Studies Forum in the Obermann Center for
Advanced Studies at the University of Iowa, where she is also on
the faculty. CONTRIBUTORS: Christina Bashford, George Biddlecombe,
Denise Gallo, David Gramit, Catherine Hennessy Wolter, Roberta
Montemorra Marvin, Fiona Palmer, Jann Pasler, Michela Ronzani, Jon
Solomon, Jeffrey S. Sposato, Nicholas Vazsonyi, David Wright
Seventeen studies by noted experts that demonstrate recent
approaches toward the creative interpretation of primary sources
regarding Renaissance and Baroque music, Mozart, Beethoven,
Mendelssohn, Verdi, Debussy, and beyond. How do we know what notes
a composer intended in a given piece? -- how those notes should be
played and sung? -- the nature of musical life in Bach's Leipzig,
Schubert's Vienna? -- how music related to literature and other
arts and social currents in different times and places? -- what
attitudes musicians and music lovers had toward the music that they
heard and made? We know all this from musical manuscripts and
prints, opera libretti, composers'letters, reviews in newspapers
and magazines, archival data, contemporary pedagogical writings,
essays on aesthetics, and much else. Some of these categories of
sources are the bedrock of music history and musicology. Others
havebegun to be examined only in recent years. Furthermore,
musicologists -- including biographers of famous composers -- now
explore these various kinds of sources in a variety of ways, some
of them richly traditional and others exciting and novel. These
seventeen essays, all newly written, use a wide array of source
materials to probe issues pertaining to a cross section of musical
works and musical life from the sixteenth through the twentieth
centuries. The resulting, pluralistic profile of current musicology
will prove welcome to anyone fascinated by the problems of
reconstructing -- reimagining, sometimes -- the evanescent musical
art of the past and pondering its implications for musical life
today and in the future. Roberta Montemorra Marvin is a Research
Fellow at the Obermann Center for Advanced Studies at the
University of Iowa where she is also Director of the Institute for
Italian Opera Studies; Stephen A. Crist is associate professor and
chair of the Music Department at Emory University.
Fresh and innovative takes on the dissemination of music in
manuscript, print, and, now, electronic formats, revealing how the
world has experienced music from the sixteenth century to the
present. This collection of essays examines the diverse ways in
which music and ideas about music have been disseminated in print
and other media from the sixteenth century onward. Contributors
look afresh at unfamiliar facets of the sixteenth-century book
trade and the circulation of manuscript and printed music in the
seventeenth to nineteenth centuries. They also analyze and critique
new media forms, showing how a dizzying array of changing
technologies has influenced what we hear, whom we hear, and how we
hear. The repertoires considered include Western art music -- from
medieval to contemporary -- as well as popular music and jazz.
Assembling contributions from experts in a wide range of fields,
such as musicology, music theory, music history, and jazz and
popular music studies, Music in Print and Beyond: Hildegard von
Bingen to The Beatles sets new standards for the discussion of
music's place in Western cultural life. Contributors: Joseph Auner,
Bonnie J. Blackburn, Gabriela Cruz, Bonnie Gordon, Ellen T. Harris,
Lewis Lockwood, Paul S. Machlin, Roberta Montemorra Marvin, Honey
Meconi, Craig A. Monson, Kate van Orden, Sousan L. Youens. Roberta
Montemorra Marvin teaches at the University of Iowa and is the
author of Verdi the Student -- Verdi the Teacher (Istituto
Nazionale di Studi Verdiani, 2010) and editor of The Cambridge
Verdi Encyclopedia (Cambridge University Press, 2013). Craig A.
Monson is Professor of Musicology at Washington University (St
Louis, Missouri) and is the author of Divas in the Convent: Nuns,
Music, and Defiance in Seventeenth-Century Italy (University of
Chicago Press, 2012).
Verdi's enduring presence on the opera stages of the world and as a
subject for study by scholars in various disciplines has placed him
as a central figure within modern culture. His operas, including La
traviata, Rigoletto and Aida, are among the most frequently
performed worldwide and his popularity from the mid-nineteenth
century to the present day is undisputed. The Cambridge Verdi
Encyclopedia covers all aspects of Verdi's life, his music and his
world. Appendices list Verdi's known works, both published and
unpublished, the characters in his operas and the singers who
created them, and a chronology of his life. As a starting point for
information on specific works, people, places and concepts
associated with Verdi, the Encyclopedia reflects the very latest
scholarship, presented by an international array of experts and
will have a broad appeal for opera lovers, students and scholars.
Operatic works by Italian composers of the nineteenth century have
undergone countless transformations since their premieres, shifting
shape in response to a variety of new geographic, temporal,
technological, and performative contexts. These enduring works by
Rossini, Donizetti, Bellini, Verdi, Puccini, and their
contemporaries have myriad stories to tell. Fashions and Legacies
reconstructs a selection of these stories, exploring ways in which
operatic works have been reshaped and revived throughout the
nineteenth, twentieth, and twenty-first centuries. While focusing
on how these works have been altered, the thirteen contributors in
this book also respond to fundamental questions: how has this music
retained - or sacrificed - its powerful messages in the face of
deconstruction and recontextualization over time and place? What
happens to these operas once they have escaped control of their
authors? The contributions of singers, stage directors, conductors,
and other theatrical personalities stand front and center of the
volume.
Verdi's enduring presence on the opera stages of the world and as a
subject for study by scholars in various disciplines has placed him
as a central figure within modern culture. His operas, including La
traviata, Rigoletto and Aida, are among the most frequently
performed worldwide and his popularity from the mid-nineteenth
century to the present day is undisputed. The Cambridge Verdi
Encyclopedia covers all aspects of Verdi's life, his music and his
world. Appendices list Verdi's known works, both published and
unpublished, the characters in his operas and the singers who
created them, and a chronology of his life. As a starting point for
information on specific works, people, places and concepts
associated with Verdi, the Encyclopedia reflects the very latest
scholarship, presented by an international array of experts and
will have a broad appeal for opera lovers, students and scholars.
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