The sublime - that elusive encounter with overwhelming height, power or limits - has been associated with music from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. This volume offers a historically situated study of the relationship between music, sound and the sublime. Together, the authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. They demonstrate music's strength in playing out the sublime as transfer, transport and transmission of power, allied to the persistent theme of destruction, deaths and endings. The volume opens up two avenues for further research suggested by the adjective 'sonorous': a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that shares boundaries with other sounding phenomena.

During the July Monarchy, French grand operas, with their plots drawn from historical events, tended to be received as metaphors for current political themes. Previous studies have usually underestimated the role of music and the visual dimensions in articulating an alternative message to that offered by the libretto, and have instead focused on single political interpretations. In this study, five operas - Auber's La Muette de Portici and Gustave III, Niedermeyer's Stradella, Halevy's Charles VI and Meyerbeer's Le Prophete - illustrate the complex, contested nature of political meaning during this period. By setting these operas in the context of the emerging liberal historiography pioneered by Jules Michelet, and analysing the manner in which audiences and critics constructed 'meanings' with reference to their personal and collective experience and memories, this study reveals the central position that grand opera occupied in the period, bringing the past alive.

The genre of melodrame A grand spectacle that emerged in the boulevard theatres of Paris in the 1790s - and which was quickly exported abroad - expressed the moral struggle between good and evil through a drama of heightened emotions. Physical gesture, mise en scene and music were as important in communicating meaning and passion as spoken dialogue. The premise of this volume is the idea that the melodramatic aesthetic is central to our understanding of nineteenth-century music drama, broadly defined as spoken plays with music, operas and other hybrid genres that combine music with text and/or image. This relationship is examined closely, and its evolution in the twentieth century in selected operas, musicals and films is understood as an extension of this nineteenth-century aesthetic. The book therefore develops our understanding of opera in the context of melodrama's broader influence on musical culture during the nineteenth and twentieth centuries. This book will appeal to those interested in film studies, drama, theatre and modern languages as well as music and opera.

The genre of melodrame A grand spectacle that emerged in the boulevard theatres of Paris in the 1790s - and which was quickly exported abroad - expressed the moral struggle between good and evil through a drama of heightened emotions. Physical gesture, mise en scene and music were as important in communicating meaning and passion as spoken dialogue. The premise of this volume is the idea that the melodramatic aesthetic is central to our understanding of nineteenth-century music drama, broadly defined as spoken plays with music, operas and other hybrid genres that combine music with text and/or image. This relationship is examined closely, and its evolution in the twentieth century in selected operas, musicals and films is understood as an extension of this nineteenth-century aesthetic. The book therefore develops our understanding of opera in the context of melodrama's broader influence on musical culture during the nineteenth and twentieth centuries. This book will appeal to those interested in film studies, drama, theatre and modern languages as well as music and opera.

During the July Monarchy, French grand operas, with their plots drawn from historical events, tended to be received as metaphors for current political themes. Previous studies have usually underestimated the role of music and the visual dimensions in articulating an alternative message to that offered by the libretto, and have instead focused on single political interpretations. In this study, five operas - Auber's La Muette de Portici and Gustave III, Niedermeyer's Stradella, Halevy's Charles VI and Meyerbeer's Le Prophete - illustrate the complex, contested nature of political meaning during this period. By setting these operas in the context of the emerging liberal historiography pioneered by Jules Michelet, and analysing the manner in which audiences and critics constructed 'meanings' with reference to their personal and collective experience and memories, this study reveals the central position that grand opera occupied in the period, bringing the past alive.

The sublime - that elusive encounter with overwhelming height, power or limits - has been associated with music from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. This volume offers a historically situated study of the relationship between music, sound and the sublime. Together, the authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. They demonstrate music's strength in playing out the sublime as transfer, transport and transmission of power, allied to the persistent theme of destruction, deaths and endings. The volume opens up two avenues for further research suggested by the adjective 'sonorous': a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that shares boundaries with other sounding phenomena.