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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 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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Nadine Gordimer
Paperback
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R398
R330
Discovery Miles 3 300
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