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Opera in Theory and Practice, Image and Myth
University of Chicago Press, 2003 Cloth: 978-0-226-04592-4 Library of Congress Classification ML1733.S7513 1998 Dewey Decimal Classification 782.10945
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
The History of Italian Opera marks the first time a team of scholars has worked together to investigate the entire Italian operatic tradition, rather than limiting its focus to major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon. This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies. In its six chapters, contributors survey critics' changing attitudes toward opera over several centuries, trace the evolution of formal conventions among librettists, explore the historical relationships between opera and Italian literature, and examine opera's place in Italian popular and national culture. In perhaps the volume's most striking contribution, German scholar Carl Dahlouse offers his most important statement on the dramaturgy of opera. See other books on: Bianconi, Lorenzo | Dramaturgy | Opera | Practice | Whittall, Mary See other titles from University of Chicago Press |
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![](https://www.bibliovault.org/thumbs/978-0-226-74325-7-thumb.jpg "The Comedians of the King: "Opéra Comique" and the Bourbon Monarchy on the Eve of Revolution")
Opera in Theory and Practice, Image and Myth
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | TOC | REQUEST ACCESSIBLE FILE
University of Chicago Press, 2003
Cloth: 978-0-226-04592-4
Cloth: 978-0-226-04592-4
The History of Italian Opera marks the first time a team of scholars has worked together to investigate the entire Italian operatic tradition, rather than limiting its focus to major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon.
This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies. In its six chapters, contributors survey critics' changing attitudes toward opera over several centuries, trace the evolution of formal conventions among librettists, explore the historical relationships between opera and Italian literature, and examine opera's place in Italian popular and national culture. In perhaps the volume's most striking contribution, German scholar Carl Dahlouse offers his most important statement on the dramaturgy of opera.
This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies. In its six chapters, contributors survey critics' changing attitudes toward opera over several centuries, trace the evolution of formal conventions among librettists, explore the historical relationships between opera and Italian literature, and examine opera's place in Italian popular and national culture. In perhaps the volume's most striking contribution, German scholar Carl Dahlouse offers his most important statement on the dramaturgy of opera.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | TOC | REQUEST ACCESSIBLE FILE
