Opera libretti of the eighteenth century : essays on the libretto as enlightenment text
Author(s)
Bibliographic Information
Opera libretti of the eighteenth century : essays on the libretto as enlightenment text
Edwin Mellen, c2014
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Note
Bibliography: p. 215-230
Includes index
Contents of Works
- Forsaking all 'others' : marriage and the birth of comedy in Jean-Philippe Rameau's Platee / by Marcie Ray
- Rousseau and the operatic sentimental / by Pamela Gay-White
- The Pasha does not sing : enlightenment themes and their musical treatment in Mozart's Die Entfuhrung aus dem Serail / by Laurel Zeiss
- Beaumarchais' "Tarare" : courtly art and radical enlightenment / by Daren Hodson
- Matrimonio segreto : marriage options in Venetian comic opera / by Adrienne Ward
- La Tosca or the perfect anti-18th century libretto / by Susan Vandiver Nicassio
Description and Table of Contents
Description
The etymology of libretto, traced from the Italian libretti, portends its trans- formation as text during the Enlightenment, defining and differentiating Italian from French cultural ideals. Culminating in a reformulation of opera, numerous debates by the philosophes over the nature of the libretto, com- prising the feasibility of French as a language for opera and the possibility of a unified text comprised of word and tone, cause the emergence of the restyled libretto as Enlightenment text. Reflecting Enlightenment concerns with nature and the role played by music as a language of anthropological origin, elucidated in theoretical works by Diderot, Rousseau, d'Alembert, and others, these debates were concurrent with important musicological developments such as the rise of the modern symphony, and the genesis of the sonata form. As a result, they engendered a musical critique resulting in new theories for then-common musical terms such as recitative, expression, while proposing a theory of musical mimesis.
During the period surrounding the Revolution, the readership of restyled libretti, aided by the proliferation of pamphlet literature, reified through opera a new readership and cultural consciousness.
Table of Contents
- Sample from Table of Contents: Foreword by Alfred E. Lemmon
- Acknowledgements / Introduction
- Chapters: Forsaking all 'Others': Marriage and the Birth of Comedy in Jean-Philippe Rameau's Platee by Marcie Ray
- 2: Rousseau and the Operatic Sentimental by Pamela Gay-White
- 3: The Pasha Does Not Sing: Enlightenment Themes and Their Musical Treatment in Mozart's Die Entfuhrung aus dem Serail by Laurel Zeiss
- 4: Beaumarchais' "Tarare": Courtly Art and Radical Enlightenment by Daren Hodson and more.
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