The Ashgate library of essays in opera studies: [5] National traditions in nineteenth-century opera, Volume 2 : central and eastern Europe
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Farnham [u.a.]
Ashgate
2010
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXVIII, 501 S. Ill., Notenbeisp. |
| ISBN: | 9780754629061 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Acknowledgements
vii
Series
Preface
ix
Introduction
xi
PART I GERMAN OPERA IN THE EARLY NINETEENTH CENTURY
1
Philip Gossett
(1978),
The Arias of Marzelline: Beethoven as a Composer of Opera ,
Beethoven-Jahrbuch, 10,
pp.
141-83. 3
2
Anthony Newcomb
( 1995),
New Light(s) on Weber
s
Wolf
s
Glen Scene
,
in Thomas Bauman and
Marita
P. McClymonds
(eds),
Opera and the
Enlightenment, Cambridge: Cambridge University Press, pp.
61-88. 47
3
Michael C.
Tusa
(1986),
Richard Wagner and Weber s Euryanthe , Wth-Century
Music,
9,
pp.
206-21. 75
PART II WAGNER
4
James Treadwell
(1995),
The Ring and the Conditions of Interpretation: Wagner s
Writing,
1848
to
1852 ,
Cambridge Opera Journal,
7,
pp.
207-31. 93
5
Thomas Grey
(1996), ... wie ein rother Faden:
On the Origins of Leitmotif
as
Critical Construct and Musical Practice , in Ian Bent
(ed.),
Music Theory in the
Age of Romanticism, Cambridge: Cambridge University Press, pp.
187-210. 119
6
Robert Bailey
(1977),
The Structure of the Ring and its Evolution , Wth-Century
Music, , pp.
48-61. 143
7
William
Kinderman
(1980),
Dramatic Recapitulation in Wagner s
Götterdämmerung ,
ïm-Century
Music,
4,
pp.
101-12. 157
8
Carolyn
Abbate
(1989),
Wagner, On Modulation , and
Tristan ,
Cambridge Opera
Journal,
1,
pp.
33-58. 169
9
Linda Hutcheon and Michael Hutcheon
(1999),
Death Drive: Eros and Thanatos in
Wagner s Tristan
und
Isolde , Cambridge Opera Journal,
11,
pp.
267-93. 195
10
Arthur Groos
(1992),
Constructing Nuremberg: Typological and Proleptic
Communities in Die
Meistersinger , 19th-century
Music,
16,
pp.
18-34. 223
11
David
Lewin (1984),
Amfortas s Prayer to Titurel and the Role of
D
in Parsifal:
The Tonal Spaces of the Drama and the Enharmonic Cb/B ,
19th-century
Music,
7,
pp.
336-^49. 241
12
John Deathridge
(2007),
Strange Love; or, How We Learned to Stop Worrying
and Love Wagner s Parsifal
,
in Julie Brown
(ed.),
Western Music and Race,
Cambridge: Cambridge University Press, pp.
65-83. 255
National
Traditions
in Nineteenth-Century Opera, Volume II
PARTIU
RUSSIAN OPERA
13
Marina Frolova-Walker
(1997),
On
Rus lan
and Russianness , Cambridge Opera
Journal,
9,
pp.
21-45. 277
14
Robert William
Oldani
(1986),
Mussorgsky s Boris on the Stage of the Maryinsky
Theater: A Chronicle of the First Production , The Opera Quarterly,
4,
pp.
75-92. 303
15
Caryl Emerson
(1988),
Musorgsky s Libretti on Historical Themes: From the Two
Borises to Khovanshchina
,
in Arthur Groos and Roger Parker
(eds),
Reading Opera,
Princeton: Princeton University Press, pp.
235-67. 321
16
Simon Morrison
(2001),
The Semiotics of Symmetry, or Rimsky-Korsakov s
Operatic History Lesson , Cambridge Opera Journal,
13,
pp.
261-93. 355
PART IV STRAUSS AND
JANÁČEK
17
Sander L.
Gilman
(1988),
Strauss and the Pervert , in Arthur Groos and Roger Parker
(eds),
Reading Opera, Princeton: Princeton University Press, pp.
306-27. 391
18
Lawrence Kramer
(2004),
Fin-de-Siècle
Fantasies:
Elektra
and the Culture of
Supremacism , in Lawrence Kramer, Opera and Modern Culture: Wagner and
Strauss, Berkeley. University of California Press, pp.
190-219; 248-51. 413
19
Paul Wingfield
(1992),
Janáček s
Speech-Melody Theory in Concept and Practice ,
Cambridge Opera Journal,
4,
pp.
281-301. 447
20
Geoffrey Chew and Robert
Vilain
(1999),
Evasive Realism: Narrative Construction
in Dostoyevsky s and
Janáček s
From the House of the Dead
,
in Paul Wingfield
(ed.),
Janáček
Studies, Cambridge: Cambridge University Press, pp.
56-78. 469
Name Index
493
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