Tools

LEADER 03749cam a2200373 i 4500

001 ocm03167956;

005 20141211221611.0;

008 770708s1978 nyu 001 0 eng ;

010 a| 77023745;

020 a| 0195022882 :c| $12.95;

035 a| (Sirsi) o03167956;

035 a| (OCoLC)3167956;

049 a| EREM;

050 00 a| ML1705.M67b| O6;

082 0 a| 782.1/09;

100 1 a| Mordden, Ethan,d| 1947-=| ^A95360;

245 10 a| Opera in the twentieth century :b| sacred, profane, Godot /c| Ethan Mordden.;

260 a| New York :b| Oxford University Press,c| 1978.;

300 a| ix, 357 pages ;c| 22 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Cover title: Sacred, profane, Godot.;

500 a| Includes index.;

505 0 a| Preface -- Induction -- Allemonde, Shemakha, and on to Peking -- The last days of romance -- France -- Italy -- Germany -- Jazz, fugue, tone row, and other wonderful motions -- The idea of a national opera -- The heroes of good adventure; or the masks are down -- France -- Italy -- Germany -- England -- The United States -- Three scarecrows and a pair of feet.;

520 a| Tracing the rise of modern music drama from its nineteenth century Wagnerian peak, the author shows how modern opera has evolved along two revolutionary lines of development: first, the increasing importance of the poetry in relation to the music; and second, the blending of the traditional themes of classical opera with the contemporary emergence of surrealism and vernacular comedy. As the author writes, 'The art of modern opera is a syzygy of the sacred and the profane--more exactly a profaning of the sacred--a development that can be traced directly from the textual clarity of Pelleas et Melisande through the neoclassified romanticism of Wozzeck and the contraposition of Jonny Spielt Auf to the right-angled intermezzo of The Bassarids. What in Richard Strauss's day could be broken up into words and music for the purposes of disputation has become, for the first time in opera's history, a synaptic organism, one in which the musical entity of romantic opera and its pull to fantasy is recycled against a simultaneous diagram of comic commentary--the horizontal extensions of song tempered by the vertical analyses of the Word.' Within this analytical framework the author examines the significant works of Puccini, Strauss, Debussy, Poulenc, Britten, and Henze as well as the twelve tone experiments of Schoenberg, Berg, and their disciples, treating both the celebrated and the arcane, from mythic ritual to absurdity. The book also treats opera as an emerging national phenomenon in Germany, Italy, France, England, and the United States along with the lesser known contributions of eastern Europe. 'What is more invigorating,' the author discovers, '... is to learn how each nationality of musicians and librettists deals with each continental development in art, for by the mid-1900s, the accumulated trial and error appears to arrive at some few plateaus in the operatic aesthetic...' Here then is opera on its modern voyage, from Tosca to War and Peace to Elephant Steps, from Louise to Die Dreigroschenoper to Death in Venice--from musical myth to verbal satire, and finally to a collision of the two.;

650 0 a| Opera.=| ^A19937;

650 0 a| Operay| 20th centuryx| History and criticism.=| ^A407035;

650 0 a| Musicy| 20th centuryx| History and criticism.=| ^A147357;

919 a| BOOK;

596 a| 3;

998 a| 122278;

999 a| ML1705.M67 O6 1978w| LCc| 1i| 310372001467952d| 8/19/2016e| 4/27/2016f| 4/9/2024g| 4l| MSTm| JMUSICn| 16q| 3r| Ys| Yt| MGESBKu| 5/11/1986x| BOOKz| MCIRCo| .STAFF. enhanced 1/20/23 -jjab;

Opera in the twentieth century : sacred, profane, Godot / Ethan Mordden.

Author/creator	Mordden, Ethan, 1947-
Format	Book
Publication Info	New York : Oxford University Press, 1978.
Description	ix, 357 pages ; 22 cm
Subjects	Opera. Opera--20th century. --History and criticism. Music--20th century. --History and criticism.

Contents	Preface -- Induction -- Allemonde, Shemakha, and on to Peking -- The last days of romance -- France -- Italy -- Germany -- Jazz, fugue, tone row, and other wonderful motions -- The idea of a national opera -- The heroes of good adventure; or the masks are down -- France -- Italy -- Germany -- England -- The United States -- Three scarecrows and a pair of feet.
Abstract	Tracing the rise of modern music drama from its nineteenth century Wagnerian peak, the author shows how modern opera has evolved along two revolutionary lines of development: first, the increasing importance of the poetry in relation to the music; and second, the blending of the traditional themes of classical opera with the contemporary emergence of surrealism and vernacular comedy. As the author writes, 'The art of modern opera is a syzygy of the sacred and the profane--more exactly a profaning of the sacred--a development that can be traced directly from the textual clarity of Pelleas et Melisande through the neoclassified romanticism of Wozzeck and the contraposition of Jonny Spielt Auf to the right-angled intermezzo of The Bassarids. What in Richard Strauss's day could be broken up into words and music for the purposes of disputation has become, for the first time in opera's history, a synaptic organism, one in which the musical entity of romantic opera and its pull to fantasy is recycled against a simultaneous diagram of comic commentary--the horizontal extensions of song tempered by the vertical analyses of the Word.' Within this analytical framework the author examines the significant works of Puccini, Strauss, Debussy, Poulenc, Britten, and Henze as well as the twelve tone experiments of Schoenberg, Berg, and their disciples, treating both the celebrated and the arcane, from mythic ritual to absurdity. The book also treats opera as an emerging national phenomenon in Germany, Italy, France, England, and the United States along with the lesser known contributions of eastern Europe. 'What is more invigorating,' the author discovers, '... is to learn how each nationality of musicians and librettists deals with each continental development in art, for by the mid-1900s, the accumulated trial and error appears to arrive at some few plateaus in the operatic aesthetic...' Here then is opera on its modern voyage, from Tosca to War and Peace to Elephant Steps, from Louise to Die Dreigroschenoper to Death in Venice--from musical myth to verbal satire, and finally to a collision of the two.
General note	Cover title: Sacred, profane, Godot.
General note	Includes index.
LCCN	77023745
ISBN	0195022882 :

Availability

Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML1705.M67 O6 1978	✔ Available	Place Hold

Opera in the twentieth century : sacred, profane, Godot / Ethan Mordden.

Click here for more information about this title

Availability