The Weitra Fragment: A Central European Source of Late Medieval Polyphony
Zapke, S., Wright, P., 2015-10-10 11:37:42 AM
This article investigates a little-known fifteenth-century polyphonic fragment in the parish archive of Weitra, a small town in Lower Austria. It provides a detailed account of the physical make-up of the source and its contents, which comprise four works, three previously known from other sources: an Introit, a Kyrie (here identified as by Du Fay), and two settings of a hymn for the dedication of a church. A copying date of c.1440–50 is proposed and a possible relationship between the fragment and events that occurred in Weitra around this time (notably the dedication of the parish church and two chapels) is explored. Both fragment and host manuscript (the latter apparently belonged to Andreas de Weytra, rector of Vienna University in the 1430s) are examined in the context of the close political and intellectual relations that existed between Weitra and Vienna at the time of Albrecht V(II) and Friedrich III.Performing Sovereignty, Sounding Autonomy: Political Representation in the Operas of Maria Antonia of Saxony
Joubert, E., 2015-10-10 11:37:42 AM
This article assesses representations of sovereignty in the court operas of Maria Antonia of Saxony, Il trionfo della fedeltà (1754) and Talestri, regina delle amazzoni (1762). I argue that, while clothed in the garb of representational court culture, the princess’s operas are substantially inflected with (then new) ideals of autonomy. The decisive philosophical ideal that individuals are equally capable of moral decision-making eventually enabling self-government is inscribed most frequently in extended displays of interiority, of whichopera seria had an established tradition. Situated in the religious milieu of the Dresden court, Maria Antonia’s operas transform Augustinian Christian morality into a framework in which compassion coupled with autonomy becomes a catalyst for societal transformation. As such, her operas curiously interrogate the very power relationships between ruler and subject that opera seria is designed to fortify. Ultimately, these operas display a fascinating and unusual instance of ruler-driven transformation of sovereignty in opera seria during the Enlightenment.Olivier Halanzier and the Operatic Museum in Late Nineteenth-Century France
Ellis, K., 2015-10-10 11:37:42 AM
Olivier Halanzier, director of the Paris Opéra 1871–9, had a longer career and a higher professional profile than Parisian theatre directors who have been the object of sustained musicological interest. Halanzier is, however, a pivotal historical figure. First, he is an important lens through which to understand how Parisian disdain for French regional practice intersected with operatic canon-formation and the conceptualization of the new Palais Garnier as a museum; and how this officially sanctioned designation came to signal the progressive redirection of subsidy away from new commissions and towards revivals. Secondly, he is important for the way his unusual career trajectory intersects with the demise of grand opera: Halanzier’s legacy as chief architect of the Paris Opéra as national museum exposed the irony that the institution, with its monumental genre of grand opera curated within its equally monumental Palais Garnier, no longer led the operatic world in compositional terms.Awakening 'Sleeping Beauty': The Creation of National Ballet in Britain
Guthrie, K., 2015-10-10 11:37:42 AM
The post-war reopening of London’s Royal Opera House in 1946 has long been viewed as a turning point in policy-makers’ pursuit of national culture: the opulent new production of Tchaikovsky’s Sleeping Beauty ballet seemed to abandon the wartime emphasis on amateur involvement in the arts in favour of a more elitist preoccupation with international prestige. By resituating the opening night within the broad history of mid-century British ballet culture, this article offers an alternative perspective—one that reveals the production to be far from straightforwardly elitist. In particular, it explores why ballet’s perceived reliance on spectacle made it a problematic vehicle for national culture. It also sheds new light on how the European art canon was appropriated in an attempt to bring Britain the international renown that many considered the hallmark of a ‘truly national culture’.Senza vestimenta: The Literary Tradition of Trecento Song. By Lauren McGuire Jennings
Abramov-van Rijk, E., 2015-10-10 11:37:42 AM
Singing Dante: The Literary Origins of Cinquecento Monody. By Elena Abramov-van Rijk
Pieragostini, R., 2015-10-10 11:37:42 AM
St. Anne in Renaissance Music: Devotion and Politics. By Michael Alan Anderson
Loewen, P. V., 2015-10-10 11:37:42 AM
Barocco padano e musici francescani: L'apporto dei Maestri Conventuali. Atti del XVI Convegno internazionale sul barocco padano (secoli XVII-XVIII). Ed. by Alberto Colzani, Andrea Luppi, and Maurizio Padoan
Talbot, M., 2015-10-10 11:37:42 AM
Claudio Monteverdi 'letterato' ou les metamorphoses du texte. By Christophe Georis
Carter, T., 2015-10-10 11:37:42 AM
Networks of Music and Culture in the Late Sixteenth and Early Seventeenth Centuries: A Collection of Essays in Celebration of Peter Philips's 450th Anniversary. Ed. by David J. Smith and Rachelle Taylor
Cunningham, J., 2015-10-10 11:37:42 AM
Gender and Song in Early Modern England. Ed. by Leslie C. Dunn and Katherine R. Larson
Hohl Trillini, R., 2015-10-10 11:37:42 AM
Concepts of Creativity in Seventeenth-Century England. Edited by Rebecca Herissone and Alan Howard
Pinnock, A., 2015-10-10 11:37:42 AM
George Frideric Handel: Collected Documents, i: 1609-1725. Ed. by Donald Burrows, Helen Coffey, John Greenacombe, and Anthony Hicks
McGeary, T., 2015-10-10 11:37:42 AM
La musica sacra nella Milano del Settecento: Atti del convegno internazionale Milano, 17-18 maggio 2011. Ed. by Cesare Fertonani, Raffaele Mellace, and Claudio Toscani
Kendrick, R. L., 2015-10-10 11:37:42 AM
Convent Music and Politics in Eighteenth-Century Vienna. By Janet K. Page
Reardon, C., 2015-10-10 11:37:42 AM
The Oxford Handbook of Topic Theory. Ed. by Danuta Mirka
Ferraguto, M., 2015-10-10 11:37:42 AM
The Advancement of Music in Enlightenment England: Benjamin Cooke and the Academy of Ancient Music. By Tim Eggington
Weber, W., 2015-10-10 11:37:42 AM
The Sounds of Paris in Verdi's La traviata. By Emilio Sala
Rutherford, S., 2015-10-10 11:37:42 AM
Becoming Heinrich Schenker: Music Theory and Ideology. By Robert P. Morgan
Marston, N., 2015-10-10 11:37:42 AM
Louis Armstrong: Master of Modernism. By Thomas Brothers
Harker, B., 2015-10-10 11:37:42 AM
Funeral Games in Honor of Arthur Vincent Lourie. Ed. by Klara Moricz and Simon Morrison
Levidou, K., 2015-10-10 11:37:42 AM
The Australian Symphony from Federation to 1960. By Rhoderick McNeill
Tregear, P., 2015-10-10 11:37:42 AM
A Musician Divided: Andre Tchaikowsky in his Own Words. Ed. by Anastasia Belina-Johnson
Alexander, T., 2015-10-10 11:37:42 AM
Alaturka: Style in Turkish Music (1923-1938). By John Morgan O'Connell
Bates, E., 2015-10-10 11:37:42 AM
Theory and Method in Historical Ethnomusicology. Ed. by Jonathan McCollum and David G. Hebert
Olley, J., 2015-10-10 11:37:42 AM
Assimilate: A Critical History of Industrial Music. By S. Alexander Reed
Upton, R., 2015-10-10 11:37:42 AM
The Westrup Prize
2015-10-10 11:37:42 AM
Recipients of 'Music & Letters' Awards
2015-10-10 11:37:42 AM
Instructions to Authors
2015-10-10 11:37:42 AM
Authors of Articles in this Issue
2015-10-10 11:37:42 AM
'Music & Letters' Awards
2015-10-10 11:37:42 AM
Books Received
2015-10-10 11:37:42 AM
Σάββατο 10 Οκτωβρίου 2015
Music and Letters
Εγγραφή σε:
Σχόλια ανάρτησης (Atom)
Download
ΦΥΛΑΚΕΣ ΓΡΗΓΟΡΕΙΤΕ !
Δεν υπάρχουν σχόλια:
Δημοσίευση σχολίου