Music and the Sonorous Sublime in European Culture, 1680-1880
Herausgeber: Hibberd, Sarah; Stanyon, Miranda
Music and the Sonorous Sublime in European Culture, 1680-1880
Herausgeber: Hibberd, Sarah; Stanyon, Miranda
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The first English language collection on the musical sublime. Reveals music's place at the forefront of this interdisciplinary aesthetic category.
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The first English language collection on the musical sublime. Reveals music's place at the forefront of this interdisciplinary aesthetic category.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 318
- Erscheinungstermin: 2. Juli 2020
- Englisch
- Abmessung: 185mm x 250mm x 20mm
- Gewicht: 771g
- ISBN-13: 9781108486590
- ISBN-10: 1108486592
- Artikelnr.: 57830792
- Verlag: Cambridge University Press
- Seitenzahl: 318
- Erscheinungstermin: 2. Juli 2020
- Englisch
- Abmessung: 185mm x 250mm x 20mm
- Gewicht: 771g
- ISBN-13: 9781108486590
- ISBN-10: 1108486592
- Artikelnr.: 57830792
Sonorous sublimes: an introduction Sarah Hibberd and Miranda Stanyon; 1.
Thunder or celestial harmony: French theological debates on the sonorous
sublime Sophie Hache; 2. 'A pleasing rape': John Dennis, music and the
queer sublime Matthew Head; 3. The idea of the past in eighteenth-century
British music Suzanne Aspden; 4. C. P. E. Bach and the neoclassical
sublime: revisions of a concept Keith Chapin; 5. Cherubini's Médée and
sublime vengeance Sarah Hibberd; 6. When does the sublime stop? Cavatinas
and quotations in Haydn's Seasons Elaine Sisman; 7. Counterfeits,
contraltos and consonance in De Quincey's sublime Miranda Stanyon; 8. The
consecration of sound: sublime musical creation in Haydn, Weber and Spohr
Benedict Taylor; 9. Commanding performances: opera, surrogation and the
royal sublime in 1848 Dana Gooley; 10. Wagner's sublime effects: bells,
cannon and the perception of heavy sound David Trippett.
Thunder or celestial harmony: French theological debates on the sonorous
sublime Sophie Hache; 2. 'A pleasing rape': John Dennis, music and the
queer sublime Matthew Head; 3. The idea of the past in eighteenth-century
British music Suzanne Aspden; 4. C. P. E. Bach and the neoclassical
sublime: revisions of a concept Keith Chapin; 5. Cherubini's Médée and
sublime vengeance Sarah Hibberd; 6. When does the sublime stop? Cavatinas
and quotations in Haydn's Seasons Elaine Sisman; 7. Counterfeits,
contraltos and consonance in De Quincey's sublime Miranda Stanyon; 8. The
consecration of sound: sublime musical creation in Haydn, Weber and Spohr
Benedict Taylor; 9. Commanding performances: opera, surrogation and the
royal sublime in 1848 Dana Gooley; 10. Wagner's sublime effects: bells,
cannon and the perception of heavy sound David Trippett.
Sonorous sublimes: an introduction Sarah Hibberd and Miranda Stanyon; 1.
Thunder or celestial harmony: French theological debates on the sonorous
sublime Sophie Hache; 2. 'A pleasing rape': John Dennis, music and the
queer sublime Matthew Head; 3. The idea of the past in eighteenth-century
British music Suzanne Aspden; 4. C. P. E. Bach and the neoclassical
sublime: revisions of a concept Keith Chapin; 5. Cherubini's Médée and
sublime vengeance Sarah Hibberd; 6. When does the sublime stop? Cavatinas
and quotations in Haydn's Seasons Elaine Sisman; 7. Counterfeits,
contraltos and consonance in De Quincey's sublime Miranda Stanyon; 8. The
consecration of sound: sublime musical creation in Haydn, Weber and Spohr
Benedict Taylor; 9. Commanding performances: opera, surrogation and the
royal sublime in 1848 Dana Gooley; 10. Wagner's sublime effects: bells,
cannon and the perception of heavy sound David Trippett.
Thunder or celestial harmony: French theological debates on the sonorous
sublime Sophie Hache; 2. 'A pleasing rape': John Dennis, music and the
queer sublime Matthew Head; 3. The idea of the past in eighteenth-century
British music Suzanne Aspden; 4. C. P. E. Bach and the neoclassical
sublime: revisions of a concept Keith Chapin; 5. Cherubini's Médée and
sublime vengeance Sarah Hibberd; 6. When does the sublime stop? Cavatinas
and quotations in Haydn's Seasons Elaine Sisman; 7. Counterfeits,
contraltos and consonance in De Quincey's sublime Miranda Stanyon; 8. The
consecration of sound: sublime musical creation in Haydn, Weber and Spohr
Benedict Taylor; 9. Commanding performances: opera, surrogation and the
royal sublime in 1848 Dana Gooley; 10. Wagner's sublime effects: bells,
cannon and the perception of heavy sound David Trippett.