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This book concerns the life and theatrical career of the great
native-born English composer and musician of the eighteenth
century, Thomas Augustine Arne (1710-1778). Its purpose is
three-fold. First, it provides a comprehensive biography and
account of the performance and publication of Arne's works during
his lifetime. Although Arne's childhood years get some attention,
the book focuses on the period from 1732 to 1778, a time of great
innovation for English opera and related genres. Second, it
considers Arne's social context: his relationships with the many
dramatists, actors, singers, and fellow composers and
instrumentalists-including many members of his own family-with whom
he collaborated on the London and Dublin stages as well as at the
London pleasure gardens. Third, it offers analysis of eighty
musical illustrations drawn from vocal works for the theatre
spanning Arne's career, and readers can simultaneously study and
listen to the musical examples on a companion web page that hosts
media files produced using music notation software. The audio
component constitutes a crucial supplement to a study of Arne
because so much of his extant theatre music cannot otherwise
readily be heard. Arne was the leading figure in English theatrical
music of his day. Dr. Charles Burney, the great eighteenth-century
historian of music, had a high opinion of the composer, especially
of Arne's setting of Milton's Comus (1738): "In this masque he
introduced a light, airy, original, and pleasing melody, wholly
different from that of Purcell or Handel, whom all English
composers had hitherto either pillaged or imitated. Indeed, the
melody of Arne at this time . . . forms an era in English Music; it
was so easy, natural and agreeable to the whole kingdom, that it
[became] the standard of all perfection at our theatres and public
gardens." Yet Burney's greatest compliment concerns Arne as a
composer of secular vocal music: "He must be allowed to have
surpassed [Purcell] in ease, grace, and variety." During his
forty-six-year career Arne composed music for over 100 stage
works-to say nothing of his myriad single songs, cantatas, and
instrumental compositions. Yet despite a relative wealth of source
material, scholars of theatre, drama, and music in our own time
have almost completely ignored him. As a consequence,
musicologists, theatre historians, and laypeople alike tend to
evince a detrimentally limited sense of the magnitude of Arne's
contribution to English music and especially to the history of
English opera. To listen to musical examples that accompany The
Theatre Career of Thomas Arne, please visit
http://www2.lib.udel.edu/udpress/thomasarne.htm
Intended for use by both librarians and students in LIS programs,
Academic Librarianship Today is the most current, comprehensive
overview of the field available today. Key features include: *Each
chapter was commissioned specifically for this new book, and the
authors are highly regarded academic librarians or library school
faculty- or both *Cutting-edge topics such as open access,
copyright, digital curation and preservation, emerging
technologies, new roles for academic librarians, cooperative
collection development and resource sharing, and patron-driven
acquisitions are explored in depth *Each chapter ends with
thought-provoking questions for discussion and carefully
constructed assignments that faculty can assign or adapt for their
courses The book begins with Gilman's introduction, an overview
that briefly synthesizes the contents of the contributors' chapters
by highlighting major themes. The main part of the book is
organized into three parts: The Academic Library Landscape Today,
Academic Librarians and Services Today, and Changing Priorities,
New Directions.
Intended for use by both librarians and students in LIS programs,
Academic Librarianship Today is the most current, comprehensive
overview of the field available today. Key features include: *Each
chapter was commissioned specifically for this new book, and the
authors are highly regarded academic librarians or library school
faculty- or both *Cutting-edge topics such as open access,
copyright, digital curation and preservation, emerging
technologies, new roles for academic librarians, cooperative
collection development and resource sharing, and patron-driven
acquisitions are explored in depth *Each chapter ends with
thought-provoking questions for discussion and carefully
constructed assignments that faculty can assign or adapt for their
courses The book begins with Gilman's introduction, an overview
that briefly synthesizes the contents of the contributors' chapters
by highlighting major themes. The main part of the book is
organized into three parts: The Academic Library Landscape Today,
Academic Librarians and Services Today, and Changing Priorities,
New Directions.
This book concerns the life and theatrical career of the great
native-born English composer and musician of the eighteenth
century, Thomas Augustine Arne (1710-1778). Its purpose is
three-fold. First, it provides a comprehensive biography and
account of the performance and publication of Arne's works during
his lifetime. Although Arne's childhood years get some attention,
the book focuses on the period from 1732 to 1778, a time of great
innovation for English opera and related genres. Second, it
considers Arne's social context: his relationships with the many
dramatists, actors, singers, and fellow composers and
instrumentalists-including many members of his own family-with whom
he collaborated on the London and Dublin stages as well as at the
London pleasure gardens. Third, it offers analysis of eighty
musical illustrations drawn from vocal works for the theatre
spanning Arne's career, and readers can simultaneously study and
listen to the musical examples on a companion web page that hosts
media files produced using music notation software. The audio
component constitutes a crucial supplement to a study of Arne
because so much of his extant theatre music cannot otherwise
readily be heard. Arne was the leading figure in English theatrical
music of his day. Dr. Charles Burney, the great eighteenth-century
historian of music, had a high opinion of the composer, especially
of Arne's setting of Milton's Comus (1738): "In this masque he
introduced a light, airy, original, and pleasing melody, wholly
different from that of Purcell or Handel, whom all English
composers had hitherto either pillaged or imitated. Indeed, the
melody of Arne at this time . . . forms an era in English Music; it
was so easy, natural and agreeable to the whole kingdom, that it
[became] the standard of all perfection at our theatres and public
gardens." Yet Burney's greatest compliment concerns Arne as a
composer of secular vocal music: "He must be allowed to have
surpassed [Purcell] in ease, grace, and variety." During his
forty-six-year career Arne composed music for over 100 stage
works-to say nothing of his myriad single songs, cantatas, and
instrumental compositions. Yet despite a relative wealth of source
material, scholars of theatre, drama, and music in our own time
have almost completely ignored him. As a consequence,
musicologists, theatre historians, and laypeople alike tend to
evince a detrimentally limited sense of the magnitude of Arne's
contribution to English music and especially to the history of
English opera. To listen to musical examples that accompany The
Theatre Career of Thomas Arne, please visit
http://www2.lib.udel.edu/udpress/thomasarne.htm
Writing Lives in the Eighteenth Century is a collection of essays
on memoir, biography, and autobiography during a formative period
for the genre. The essays revolve around recognized male and female
figures - returning to the Boswell and Burney circle - but present
arguments that dismantle traditional privileging of biographical
modes. The contributors reconsider the processes of hero making in
the beginning phases of a culture of celebrity. Employing the
methodology William Godwin outlined for novelists of taking
material from all sources, experience, report, and the records of
human affairs, each contributor examines within the contexts of
their time and historical traditions the anxieties and imperatives
of the auto/biographer as she or he shapes material into a legacy.
New work on Frances Burney D'Arblay's son, Alexander, as revealed
through letters; on Isabelle de Charriere; on Hester Thrale Piozzi;
and on Alicia LeFanu and Frances Burney's realignment of family
biography extend current conversations about eighteenth century
biography and autobiography.
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