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A long-needed and up-to-date overview of the syntax and principles
that make Verdi's operas so effective and so beloved today. Verdi's
art emerged from a rich array of dramatic and musical practices
operative in the Italy of his day. Drawing the reader into his
creative world, this study (translated from the French original by
the author himself) begins where Verdi began when it came time to
set notes to paper: the libretto. Designed for the non-Italophone
reader, Steven Huebner's Verdi and the Art of Italian Opera
explains key principles of Italian poetry that shaped his music.
From there, Huebner outlines the various musical textures available
to the composer, including an exploration of the characteristics of
recitative and aria. Working outward, subsequent chapters explore
the syntax of Verdi's melodic writing and the larger-level forms
that he used. A concluding chapter considers ways of conceiving
musical unity in his operas.
New, insightful essays from musicologists, historians, art
historians, and literary scholars reconsider the relationship of
Debussy, Gauguin, Zola, and other great French creative artists to
cultural and political trends during the Third Republic. This
collection of new essays examines the relationships between
discourses of French national and regional identity, political
alignment, and creative practice during one of France's most
fascinating eras: the Third Republic. The authors, from a variety
of disciplinary backgrounds, explore the ways in which the
architects of the Third Republic [re]constructed France culturally
and artistically, in part through artful use of the press and [at
the 1889Paris World's Fair] new technologies. The chapters also
investigate changing attitudes toward Debussy's opera Pelleas et
Melisande, attempts by composers and critics to define a musical
canon, and the impact of religious education, spirituality, and
exoticism for Gauguin and Jolivet. Tensions between the center and
region are seen in celebrations for the national musical
figurehead, Rameau, and in the cultural regionalism that flourished
in the annexed territories of Alsace and Lorraine. Contributors:
Edward Berenson, Katharine Ellis, Annegret Fauser, Didier
Francfort, Brian Hart, Steven Huebner, Barbara L. Kelly, Detmar
Klein, Deborah Mawer, James Ross, Marion Schmid, and Debora
Silverman. Barbara L. Kelly is Professor of Musicology at Keele
University.
This volume covers opera in Italy, France, England, and the
Americas during the long nineteenth century (1789-1914). The book
is divided into four sections that are thematically, rather than
geographically, conceived: places - essays centering on contexts
for operatic culture; genres and styles - studies dealing with the
question of how operas in this period were put together; critical
studies of individual works, exemplifying particular critical
trends; and, performance.
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Debussy's Resonance (Hardcover)
Francois de Medicis, Steven Huebner; Contributions by August Sheehy, Barbara L. Kelly, Boyd Pomeroy, …
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R4,570
Discovery Miles 45 700
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Ships in 12 - 17 working days
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Some of Debussy's most beloved pieces, as well as lesser-known ones
from his early years, set in a rich cultural context by leading
experts from the English- and French-speaking worlds. The music of
Claude Debussy has always been widely beloved by listeners and
performers alike, more perhaps than that of any of the other
pioneers of musical modernism. However rich in itself, his creative
output also participated,and continues to participate, in a network
of cultural connections, the scope and meaning of which can only be
gleaned through multiple interpretive frameworks. Debussy's
Resonance offers twenty new studies by some of themost active and
respected English- and French-language scholars of French music.
The book treats a large swath of the composer's music, from
previously unexplored melodies of his early years to late pieces
such as the ballet Jeux and the Douze Etudes, and takes into
consideration the numerous contexts that helped shape the works and
the different ways that musicologists and critics have explained
them. CONTRIBUTORS: Katherine Bergeron, Matthew Brown, David J.
Code, Mark DeVoto, Michel Duchesneau, David Grayson, Denis Herlin,
Jocelyn Ho, Roy Howat, Steven Huebner, Julian Johnson, Barbara L.
Kelly, Richard Langham Smith, Mark McFarland, Francois de Medicis,
Robert Orledge, Boyd Pomeroy. Caroline Rae, Marie Rolf, August
Sheehy FRANCOIS DE MEDICIS is Professor of Music at the Universite
de Montreal. STEVEN HUEBNER is Professor of Music at McGill
University.
This is the first book-length study of the rich operatic repertory written and performed in France during the last two decades of the nineteenth century. Steven Huebner gives an accessible and colourful account of such operatic favourites as Manon and Werther by Massenet, Louise by Charpentier, and lesser-known gems such as Chabrier's Le Roi malgré lui and Chausson's Le Roi Arthus. For the first time opera lovers have available under a single cover a survey of a repertory profoundly influenced by the music of Richard Wagner.
This is the first book-length study of the rich operatic repertory
written and performed in France during the last two decades of the
nineteenth century. Steven Huebner gives an accessible and colorful
account of such operatic favorites as Manon and Werther by
Massenet, Louise by Charpentier, and lesser-known gems such as
Chabrier's Le Roi malgr lui and Chausson's Le Roi Arthus.
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