Opera after 1900
-15%
portes grátis
Opera after 1900
Notley, Margaret
Taylor & Francis Ltd
01/2011
538
Dura
Inglês
9780754628989
15 a 20 dias
1288
Descrição não disponível.
Contents: Introduction; Part I Operas by Viennese Composers, ca. 1910-1935: Expressive principle and orchestral polyphony in Schoenberg's Erwartung, Carl Dahlhaus; 'Die Frauenfrage' in Erwartung: Schoenberg's collaboration with Marie Pappenheim, Elizabeth L. Keathley; A Florentine Tragedy, or woman as mirror, Sherry D. Lee; Schoenberg as Moses and Aron, Joseph Auner; Berg's Propaganda pieces: the 'Platonic idea' of Lulu, Margaret Notley. Part II Operas from Other European Contexts: The Verbunkos and BartA (3)k's modern style: the case of Duke Bluebeard's Castle, Judit Frigyesi; Hans Pfitzner's Palestrina and the impotence of early lateness, Stephen McClatchie; Ariadne, Daphne and the problem of Verwandlung, Bryan Gilliam; The concept of epic opera: theoretical anomalies in the Brecht-Weill partnership, Stephen Hinton; French identity in flux: the triumph of Honegger's Antigone, Jane F. Fulcher; Back to the future: Shostakovich's revision of Leskov's 'Lady Macbeth of Mtsensk District', Caryl Emerson. Part III Operas by Britten and Birtwistle: 'Peter Grimes': the growth of the libretto, Philip Brett; 'Twisted relations': method and meaning in Britten's Billy Budd, Arnold Whittall; Why does Miles die? A study of Britten's The Turn of the Screw, Clifford Hindley; The shadow of opera: dramatic narrative and musical discourse in Gawain, David Beard. Part IV Operas Composed in the United States: Porgy and Bess: 'an American Wozzeck', Christopher Reynolds; Kurt Weill, modernism, and popular culture: A-ffentlichkeit als Stil, Kim H. Kowalke; The best of all possible worlds: the Eldorado episode in Leonard Bernstein's Candide, Elizabeth B. Crist; The great American opera: Klinghoffer, Streetcar, and the exception, Lawrence Kramer; Instrumental dramaturgy as humane comedy: What Next? by Elliott Carter and Paul Griffiths, Anne C. Shreffler; Name Index.
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Young Man;Florentine Tragedy;Anne C. Shreffler;Ariadne Auf Naxos;Arnold Whittall;Hans Pfitzner's Palestrina;Bryan Gilliam;Ira Gershwin;Carl Dahlhaus;Und Fall Der Stadt Mahagonny;Caryl Emerson;Duke Bluebeard's Castle;Christopher Reynolds;Act III;Clifford Hindley;Universal Edition;David Beard;Die Dreigroschenoper;Elizabeth B. Crist;Hans Heinsheimer;Elizabeth L. Keathley;Katerina Izmailova;Jane F. Fulcher;Vincent Van Gogh;Joseph Auner;Symphonic Pieces;Judit Frigyesi;Orchestral Polyphony;Kim H. Kowalke;Friedrich Cerha;Lawrence Kramer;Green Knight;Philip Brett;Carter's Music;Sherry D. Lee;Peter Pears;Stephen Hinton;Le Coq;Stephen Mcclatchie;Schoenberg's Erwartung;Myfanwy Piper;Pentatonic Theme;Nutzen Und Nachteil Der Historie;Gershwin Music
Contents: Introduction; Part I Operas by Viennese Composers, ca. 1910-1935: Expressive principle and orchestral polyphony in Schoenberg's Erwartung, Carl Dahlhaus; 'Die Frauenfrage' in Erwartung: Schoenberg's collaboration with Marie Pappenheim, Elizabeth L. Keathley; A Florentine Tragedy, or woman as mirror, Sherry D. Lee; Schoenberg as Moses and Aron, Joseph Auner; Berg's Propaganda pieces: the 'Platonic idea' of Lulu, Margaret Notley. Part II Operas from Other European Contexts: The Verbunkos and BartA (3)k's modern style: the case of Duke Bluebeard's Castle, Judit Frigyesi; Hans Pfitzner's Palestrina and the impotence of early lateness, Stephen McClatchie; Ariadne, Daphne and the problem of Verwandlung, Bryan Gilliam; The concept of epic opera: theoretical anomalies in the Brecht-Weill partnership, Stephen Hinton; French identity in flux: the triumph of Honegger's Antigone, Jane F. Fulcher; Back to the future: Shostakovich's revision of Leskov's 'Lady Macbeth of Mtsensk District', Caryl Emerson. Part III Operas by Britten and Birtwistle: 'Peter Grimes': the growth of the libretto, Philip Brett; 'Twisted relations': method and meaning in Britten's Billy Budd, Arnold Whittall; Why does Miles die? A study of Britten's The Turn of the Screw, Clifford Hindley; The shadow of opera: dramatic narrative and musical discourse in Gawain, David Beard. Part IV Operas Composed in the United States: Porgy and Bess: 'an American Wozzeck', Christopher Reynolds; Kurt Weill, modernism, and popular culture: A-ffentlichkeit als Stil, Kim H. Kowalke; The best of all possible worlds: the Eldorado episode in Leonard Bernstein's Candide, Elizabeth B. Crist; The great American opera: Klinghoffer, Streetcar, and the exception, Lawrence Kramer; Instrumental dramaturgy as humane comedy: What Next? by Elliott Carter and Paul Griffiths, Anne C. Shreffler; Name Index.
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Young Man;Florentine Tragedy;Anne C. Shreffler;Ariadne Auf Naxos;Arnold Whittall;Hans Pfitzner's Palestrina;Bryan Gilliam;Ira Gershwin;Carl Dahlhaus;Und Fall Der Stadt Mahagonny;Caryl Emerson;Duke Bluebeard's Castle;Christopher Reynolds;Act III;Clifford Hindley;Universal Edition;David Beard;Die Dreigroschenoper;Elizabeth B. Crist;Hans Heinsheimer;Elizabeth L. Keathley;Katerina Izmailova;Jane F. Fulcher;Vincent Van Gogh;Joseph Auner;Symphonic Pieces;Judit Frigyesi;Orchestral Polyphony;Kim H. Kowalke;Friedrich Cerha;Lawrence Kramer;Green Knight;Philip Brett;Carter's Music;Sherry D. Lee;Peter Pears;Stephen Hinton;Le Coq;Stephen Mcclatchie;Schoenberg's Erwartung;Myfanwy Piper;Pentatonic Theme;Nutzen Und Nachteil Der Historie;Gershwin Music
