Masculinity in opera : gender, history, and new musicology
Author(s)
Bibliographic Information
Masculinity in opera : gender, history, and new musicology
(Routledge research in music, 6)
Routledge, 2013
Available at 4 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references and index
Description and Table of Contents
Description
This book addresses the ways in which masculinity is negotiated, constructed, represented, and problematized within operatic music and practice. Although the consideration of masculine ontology and epistemology has pervaded cultural and sociological studies since the late 1980s, and masculinity has been the focus of recent if sporadic musicological discussion, the relationship between masculinity and opera has so far escaped detailed critical scrutiny. Operating from a position of sympathy with feminist and queer approaches and the phallocentric tendencies they identify, this study offers a unique perspective on the cultural relativism of opera by focusing on the male operatic subject. Anchored by musical analysis or close readings of musical discourse, the contributions take an interdisciplinary approach by also engaging with theatre, popular music, and cultural musicology scholarship. The various musical, theoretical, and socio-political trajectories of the essays are historically dispersed from seventeenth to twentieth- first-century operatic works and practices, visiting masculinity and the operatic voice, the complication or refusal of essentialist notions of masculinity, and the operatic representation of the 'crisis' of masculinity. This volume will not only enliven the study of masculinity in opera, but be an appealing contribution to music scholars interested in gender, history, and new musicology.
Table of Contents
Introduction Philip Purvis 1. Performing Masculinity / Masculinity in Performance Kate Whittaker Part I : Voicing Masculinity 2. Soprano Masculinities Susan McClary 3. Pitch Fever: The Castrato, the Tenor, and the Question of Masculinity in Nineteenth Century Opera Freya Jarman 4. Russian Opera Rebels: Fyodor Komissarzhevsky, Nikolai Figner, and the Rise of the Tenor Antihero Juliet Forshaw 5. Enrico Caruso: Operatic-Phonographic Crooner Karen Henson 6. The Erotics of Masculinity in Zeffirelli's Film Otello Marcia J. Citron Part II: Troubling Masculinity 7. Saint-Saens's Samson Kevin Kopelson 8. More Cases of Wagner Peter Franklin 9. Britten and the Deadlock of Identity Politics J.P.E. Harper-Scott 10. Troubling Gender and Identity in W.A. Mozart's Zaide and Chaya Czernowin's Adama Martin Iddon Part III: Troubled Masculinity 11. Opera's Unconscious, or What Men Don't Say Ian Biddle 12. Portrait of the Artist as an Older Man Linda and Michael Hutcheon 13. The 'Crisis' of Masculinity in Poulenc's Les Mamelles de Tiresias Philip Purvis
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