Reflecting the myriad options available to London audiences at the turn of the eighteenth century, this volume offers readers a portrait of the interrelated music, drama and dance productions that characterized this rich period. By bringing together work by scholars in different fields, this cross-disciplinary collection illuminates the interconnecting strands that shaped a vibrant theatrical world.
Reflecting the myriad options available to London audiences at the turn of the eighteenth century, this volume offers readers a portrait of the interrelated music, drama and dance productions that characterized this rich period. By bringing together work by scholars in different fields, this cross-disciplinary collection illuminates the interconnecting strands that shaped a vibrant theatrical world.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Kathryn Lowerre is a musicologist and an editor of John Eccles' collected works (A-R Editions). She has taught at Michigan State University, Colby College, and the University of Michigan, USA.
Inhaltsangabe
Contents: Introduction. Part I First Music: Settings of Congreve's Judgment of Paris: The singers of The Judgment of Paris Olive Baldwin and Thelma Wilson; Harmonia Anglicana or why finger failed in 'the price musick' Robert Rawson; The 'prize musick' of 1701: a reinvestigation of the staging issue Matt Robertson. Part II Mainpiece: The Lively Arts of the London Stage: Composing after the Italian manner: the English cantata 1700-1710 Jennifer Cable; Johann Pepusch aesthetics and the sister arts Sean M. Parr; From Scaramouche to Harlequin: dances 'in grotesque characters' on the London stage Jennifer Thorp; Music magic and morality: stage reform and the pastoral mode Timothy Neufeldt; Madness 'free from vice': musical eroticism in the pastoral world of The Fickle Shepherdess Amanda Eubanks Winkler; 'Let all be husht': songs in praise of Anne Bracegirdle and Arabella Hunt Anthony Rooley; Burning and stoic men: mad rants and the performance of passionate pain in the plays of Nathaniel Lee 1674 to1678 Jennifer Renee Danby; Appreciating Bononcini's Astianatte (1727): an Italian opera for the London stage Suzana Ograjenšek. Part III Afterpiece: Comedy Farce and Competition: The right to write; or Colley Cibber and The Drury-Lane Monster Melissa Bloom Bissonette; 'Quotation is the sincerest form of ...'?: signature songs as inter-theatrical references Kathryn Lowerre. Bibliography; Index.
Contents: Introduction. Part I First Music: Settings of Congreve's Judgment of Paris: The singers of The Judgment of Paris Olive Baldwin and Thelma Wilson; Harmonia Anglicana or why finger failed in 'the price musick' Robert Rawson; The 'prize musick' of 1701: a reinvestigation of the staging issue Matt Robertson. Part II Mainpiece: The Lively Arts of the London Stage: Composing after the Italian manner: the English cantata 1700-1710 Jennifer Cable; Johann Pepusch aesthetics and the sister arts Sean M. Parr; From Scaramouche to Harlequin: dances 'in grotesque characters' on the London stage Jennifer Thorp; Music magic and morality: stage reform and the pastoral mode Timothy Neufeldt; Madness 'free from vice': musical eroticism in the pastoral world of The Fickle Shepherdess Amanda Eubanks Winkler; 'Let all be husht': songs in praise of Anne Bracegirdle and Arabella Hunt Anthony Rooley; Burning and stoic men: mad rants and the performance of passionate pain in the plays of Nathaniel Lee 1674 to1678 Jennifer Renee Danby; Appreciating Bononcini's Astianatte (1727): an Italian opera for the London stage Suzana Ograjenšek. Part III Afterpiece: Comedy Farce and Competition: The right to write; or Colley Cibber and The Drury-Lane Monster Melissa Bloom Bissonette; 'Quotation is the sincerest form of ...'?: signature songs as inter-theatrical references Kathryn Lowerre. Bibliography; Index.
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