In this book, readers will gain a clear understanding of the rise of German opera in the early nineteenth century and the cultural and historical context in which this occurred.
In this book, readers will gain a clear understanding of the rise of German opera in the early nineteenth century and the cultural and historical context in which this occurred.
Michael Richardson completed his PhD in Music History and Theory from Stony Brook University, USA in 2015. He received a DAAD grant to conduct dissertation research in Germany for the 2012/13 academic year under the guidance of Annette Kreutziger-Herr. His research interests include late eighteenth- and nineteenth-century German, French, and Russian opera, nineteenth-century European folklorism and nationalism, medievalism and medieval music reception. He has given talks at a number of domestic and international conferences, including at AMS Milwaukee in 2014, Oxford University, and St. Petersburg, Russia.
Inhaltsangabe
Chapter 1: German Opera, the Rediscovery of the Middle Ages, and the Building of a Chapter 2: Medieval Song I: Diegetic Portrayals of Minnesang in Weber's Euryanthe and Wagner's Chapter 3: Medieval Song II: Folk Song and the Lied in Schubert's Fierrabras Chapter 4: Christianity: Church Music as a Signifier of "Pastness" in Schumann's Genoveva Chapter 5: Chivalry: Masculinity and Nation in Marschner's Der Templer und die Jüdin and Wagner's Chapter 6: The Drive Toward Unification, Die Meistersinger von Nürnberg, and Modern
Chapter 1: German Opera, the Rediscovery of the Middle Ages, and the Building of a Chapter 2: Medieval Song I: Diegetic Portrayals of Minnesang in Weber's Euryanthe and Wagner's Chapter 3: Medieval Song II: Folk Song and the Lied in Schubert's Fierrabras Chapter 4: Christianity: Church Music as a Signifier of "Pastness" in Schumann's Genoveva Chapter 5: Chivalry: Masculinity and Nation in Marschner's Der Templer und die Jüdin and Wagner's Chapter 6: The Drive Toward Unification, Die Meistersinger von Nürnberg, and Modern
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