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xvii, 150 pages ; 22 cm
  • 1. Entrance: The Spies of Jericho 2. Discipline and Listen Before the Wiretap Overhearing and Diaphony, A Small History of Big Ears (Toward the Panacousticon) Mastery and Metrics in Figaro The Ages of Fear Telelistening and Telesurveillance A Secret Conversation 3. Underground Passage: The Mole in Its Burrow 4. In the Footsteps of Orpheus The Trackers, with Hidden Noise The Mortal Ear, or Orpheus Turns Around On the Phone: Papageno at Mabuse's The Phantom of the Opera Wozzeck at the Moment of His Death Adorno, the Informer 5. Exit: J.D.'s Dream Notes.
  • (source: Nielsen Book Data)9780823273966 20170213
The world of international politics has recently been rocked by a seemingly endless series of scandals involving auditory surveillance: the NSA's warrantless wiretapping is merely the most sensational example of what appears to be a universal practice today. What is the source of this generalized principle of eavesdropping? All Ears: The Aesthetics of Espionage traces the long history of moles from the Bible, through Jeremy Bentham's "panacoustic" project, all the way to the intelligence-gathering network called "Echelon." Together with this archeology of auditory surveillance, Szendy offers an engaging account of spycraft's representations in literature (Sophocles, Shakespeare, Joyce, Kafka, Borges), opera (Monteverdi, Mozart, Berg), and film (Lang, Hitchcock, Coppola, De Palma). Following in the footsteps of Orpheus, the book proposes a new concept of "overhearing" that connects the act of spying to an excessive intensification of listening. At the heart of listening Szendy locates the ear of the Other that manifests itself as the originary division of a "split-hearing" that turns the drive for mastery and surveillance into the death drive.
(source: Nielsen Book Data)9780823273966 20170213
Green Library
xvi, 529 pages : illustrations ; 24 cm
  • Preface Prologue: Beyond Autonomy The Uncanny Grace: A Gloss on Kleist's Marionettes Reason Beyond Reason History Nation Will Religion, the Enlightenment, the Counter-Enlightenment: The New Configuration part one 1. The Secret of Music-Dramatic Form: Music Drama as Opera 2. Der Ring des Nibelungen: The Anarchist Utopia Das Rheingold: The Fall Die Walkure: How One Becomes Human Act 1: Becoming Wagner Act 2: Becoming Brunnhilde Act 3: Waiting for the Hero Siegfried: How One Becomes a Hero Act 1: Getting the Sword Act 2: Using It Act 3: The Awakening Gotterdammerung: The Apocalypse Prologue: The Past and the Future Act 1: The Entrapment 1 Act 2: The Entrapment 2 Act 3: Death and Transfiguration The Myth of Revolution part two 3. Tristan und Isolde: The Erotic Utopia The Lyrical Axis The Narrative Axis The Orchestral Strand The Music-Dramatic Form The Myth of Will Postscript 4. Die Meistersinger von Nurnberg: Politics after Tristan Act 1: The Knight's Failure Act 2: The Clerk's Failure Act 3, Part 1: A Lesson in Poetics Act 3, Part 2: The Shoemaker's Triumph The Myth of Nation 5. Parsifal: Ethics after Tristan The Communion Sequences of Acts 1 and 3 The Monologues of Acts 1 and 3 Act 2: The Kiss of Self-Knowledge The Music-Dramatic Form Eros and Agape The Myth of Redemption Epilogue: Wagner contra Nietzsche Wagner and Nietzsche: A History of the Relationship Becoming Nietzsche Nietzsche contra Wagner, Wagner contra Nietzsche Appendix 1. Das Rheingold: The Music-Dramatic Plan Appendix 2. Die Walkure: The Music-Dramatic Plan Appendix 3. Siegfried: The Music-Dramatic Plan Appendix 4. Gotterdammerung: The Music-Dramatic Plan Appendix 5. Tristan und Isolde: The Music-Dramatic Plan Appendix 6. Die Meistersinger: The Music-Dramatic Plan Appendix 7. Parsifal: The Music-Dramatic Plan Acknowledgments Abbreviations Used in Notes Notes Works Consulted Index.
  • (source: Nielsen Book Data)9780520292758 20170123
Beyond Reason relates Wagner's works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nurnberg, and Parsifal. Karol Berger seeks to penetrate the "secret" of large-scale form in Wagner's music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.
(source: Nielsen Book Data)9780520292758 20170123
Music Library
xxi, 353 pages : illustrations ; 24 cm.
  • List of Figures, Diagrams and Examples List of Tables Acknowledgements Notes to the Reader Introduction: Comparing Apples and Tomatoes: The Problematics of Restoration Masque and Opera 1 PART I: "Their greatest gallantry imaginable": Masques, Balls, and "Recreational" Acting at Court 1 Balls and the Growth of Shrovetide Entertainments 2 Youthful "Recreational" Theatrics, 1668-75 3 Masques and Plays at Court after 1675 PART II: "For such uses as the King shall direct": Through-Composed Opera, Foreign Musicians, and the Royall Academy of Musick 4 Operatic Experiments of the 1650s 5 Foreign Musicians at the Restoration Court, 1660-73 6 The Royall Academy of Musick, 1673-75 7 French Musicians at Court, 1675-89 8 Through-Composed Drama in the 1680s Appendix A: Transcription of National Archives, London, AO1/2053/28, ff. 4v-5r(Costumes for 1667 Court Ball) Appendix B: Letters Relating to Lord Sunderland's Court Ballet, 1686 Appendix C: Instrumental Music Associated with Early Operas and Masques Found in Contemporary Printed Collections, 1662-c.1725 Selected Bibliography Index.
  • (source: Nielsen Book Data)9781472446534 20161128
Masque and Opera in England, 1656-1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688-89. In seeking to address the problem of generic categorization within a highly fragmentary corpus for which a limited amount of documentation survives, Walkling argues that our understanding of the distinctions between masque and opera must be premised upon a thorough knowledge of theatrical context and performance circumstances. Using extensive archival and literary evidence, detailed textual readings, rigorous tabular analysis, and meticulous collation of bibliographical and musical sources, this interdisciplinary study offers a host of new insights into a body of work that has long been of interest to musicologists, theatre historians, literary scholars and historians of Restoration court and political culture, but which has hitherto been imperfectly understood. A companion volume will explore the phenomenon of "dramatick opera" and its precursors on London's public stages between the early 1660s and the first decade of the eighteenth century.
(source: Nielsen Book Data)9781472446534 20161128
Music Library
xvi, 243 pages : music ; 24 cm.
  • List of Music Examples List of Tables Preface Introduction. Opera and Didacticism in Early-Modern German Culture Chapter 1. Cultivating the Court and the Nation in Gluck's La rencontre imprevue Chapter 2. Die Entfuhrung aus dem Serail and the Didactic Aesthetics of the National Singspiel Chapter 3. Morality and Germanness in Die Zauberflote Chapter 4. Die Zauberflote and Subversive Morality in Suburban Operas Chapter 5.The Politics of Morality at the Court Theater in the Late 1790s Chapter 6. How German is Fidelio? Didacticism in Beethovenian Operas Epilogue Bibliography.
  • (source: Nielsen Book Data)9781472476579 20161128
This book explores how the Enlightenment aesthetics of theater as a moral institution influenced cultural politics and operatic developments in Vienna between the mid-eighteenth and early nineteenth centuries. Moralistic viewpoints were particularly important in eighteenth-century debates about German national theater. In Vienna, the idea that vernacular theater should cultivate the moral sensibilities of its German-speaking audiences became prominent during the reign of Empress Maria Theresa, when advocates of German plays and operas attempted to deflect the imperial government from supporting exclusively French and Italian theatrical performances. Morality continued to be a dominant aspect of Viennese operatic culture in the following decades, as critics, state officials, librettists, and composers (including Gluck, Mozart, and Beethoven) attempted to establish and define German national opera. Viennese concepts of operatic didacticism and national identity in theater further transformed in response to the crisis of Emperor Joseph II's reform movement, the revolutionary ideas spreading from France, and the war efforts in facing Napoleonic aggression. The imperial government promoted good morals in theatrical performances through the institution of theater censorship, and German-opera authors cultivated intensely didactic works (such as Die Zauberflote and Fidelio) that eventually became the cornerstones for later developments of German culture.
(source: Nielsen Book Data)9781472476579 20161128
Music Library
212 pages : illustrations (some color) ; 24 cm.
Music Library

6. 38 songs & arias [2016]

Music score
1 score (233 pages) ; 30 cm
  • Uncollected songs. Musik : Atem der Statuen : (2013) / Rainer Maria Rilke ; La flor de la canela : (2014) / Chabuca Granda ; The Bixby letter : (2015) / Abraham Lincoln ; The nightingale ; (2014) / Paul Verlaine ; translated by Daron Hagen ; Rain in spring : (1983) / Paul Goodman ; The green for Pamela : (1985) / Roland Flint ; 25 : (1984) / Lawrence Ferlinghetti ; Elements of poetry : (1996) / Robert Kelly ; Tomorrow : (1986) / Dag Hammarskjöld
  • Three Sea Chanties. Bantry Bay : (1983) / James Lyman Molloy ; The sea ritual : (1983) / George Darley ; In love with the sea : (1980/2002) / Daron Hagen
  • Blake songs. Infant sorrow : (1989) ; A cradle song : (2016) ; The sick rose : (2014) ; The little boy lost : (2016) ; Infant sorrow, again : (1986) ; Love and harmony : (2001) ; The lilly : (2016)
  • Theatre songs. House to half : (1981) / Ed Flesch
  • I've never wanted anyone before : (1976) / Daron Hagen ; (And then) I let him go : (2014) / Daron Hagen ; I believe in song : (2014) / Daron Hagen ; Remember how it was? : (2014) / Daron Hagen
  • A woman in Morocco. Love comes with a knife ; This lovely scarf ; And you ran toward it. Why? ; There was a woman ; Permission ; Oh, to hell with you, Ahmed! ; The best that I can do
  • Two spirituals. Wayfaring stranger / Bever's Christian Songster ; Angel band / Jefferson Haskell
  • Little Nemo in Slumberland. Flip's tango ; Dr. Pill's gavotte ; Morpheus' lament ; We need a world of dream / J.D. McClatchy
  • We few / William Shakespeare.
Music Library

7. After life [2014]

Music recording
1 online resource (1 sound file). Sound: digital. Digital: audio file.
  • After life (2015) / Tom Cipullo, composer ; David Mason, librettist (49:40)
  • In sleep the world is yours (2013) / Lori Laitman ; poems by Selma Meerbaum-Eisinger (17:15).

8. L'aiglon [2015]

Music recording
2 sound discs (1:32:29) : digital ; 4 3/4 in. Sound: digital; optical. Digital: audio file; CD audio.
Music Library
xv, 241 pages : illustrations, music ; 29 cm
Alto: The Voice of Bel Canto' by Dan H. Marek examines the careers of the great alto singers, including the great castrati, from the dawn of opera in 1597 to the present day. He surveys the music of the composers who wrote for the alto voice and includes musical examples and exercises adapted from the 24 Easy Vocalises in Progressive Order for Medium Voice by Marco Bordogni (1789-1856).
Music Library
Music score
1 study score (2 volumes) : color illustration ; 36 cm
  • Act 1
  • Act 2.
Music Library
111 pages : illustrations, music ; 25 cm.
  • Essays: L'ange de feu : extraits / Valéri Brioussov
  • Prokofiev au soleil brûlant du symbolisme / Laetitia le Guay
  • Errance de L'ange / Nicolas Moron
  • Petit lexique de L'ange de feu / Constance et Hélène Malard
  • Renata entre ange mystique et feu charnel / Marie-Aude Roux
  • Sorcières malgré elles / Agrippa de Nettesheim et Jean Wier.
Music Library
Music score
1 vocal score (363 pages) ; 28 cm
Music Library
Music score
1 score (v, 31 pages) ; 30 cm
  • Arie "Se in campo armato" (3:00)
  • Arie "Dovea svenarti" (4:00)
  • Arie "Per darvi alcun pegno" (3:00)
  • Arie "Per darvi alcun pegno" : für Sopran (3:00).
Music Library
Music score
1 score (viii, 85 pages) ; 30 cm
  • Barbara e non rammenti
  • Delfin che laccio infido
  • Dove son-Pallid'ombra
  • Saprei costante e ardita
  • Nò, se a te non toglie.
Music Library

15. Arminio [2015]

Music recording
2 audio discs (2:30:36) : digital, CD audio, stereo ; 4 3/4 in. Sound: digital; optical; stereo. Digital: audio file; CD audio.
Music Library

16. Artaserse [2016 - 2012]

2 videodiscs (ca 189 min.) : sound, color ; 4 3/4 in. + 1 booklet Sound: digital; optical; stereo; PCM 2.0. Digital: video file; DVD video; all regions.
Music Library
Music score
1 score (189 pages) ; 30 cm.
Music Library
Music recording
1 audio disc (48 min., 51 sec.) : digital, CD audio ; 4 3/4 in. Sound: digital; optical; 1.4 m/s. Digital: audio file; CD audio.
  • Odom yesoyde meofor / traditional (2:18)
  • El mole rakhamim / traditional (2:25)
  • Der yeshiva bokher. Der kaddish / Boris Thomashefsy, Louis Friedsell (2:28)
  • Lustige khsidim / Dave Franklin (2:27)
  • A Yiddishe khupe / Eliakum Zunser, Solomon Smulewitz (2:12)
  • Hagode shel peysakh / Dave Franklin (2:13)
  • Shprintze's likht bentshn / Solomon Small (2:21)
  • Akeydes Yitzkhok. Shiker lid / Abraham Goldfaden (2:48)
  • Dos biselle mashke / Solomon Smulewitz (2:22)
  • Shulamis. Rozhinkes mit mandlen (2:23) ; Akheshverus. Vayzuso (2:31) / Abraham Goldfaden
  • Blimele. Min hameytzar / Sigmund Mogulesco (2:22)
  • Taybele. Yetsias Mitsrayim / Joseph Brody (2:29)
  • Ben hador / Arnold Perlmutter, Herman Wohl (2:27)
  • Nakhtigal fun Yerusholayim. Das yidl / Joseph Brody (2:20)
  • Beys Dovid. Kabed es ovikho / M. Kroll (2:16)
  • Shoymer Yisroel. Vi mayn tate hot gemakht / Dave Franklin (2:35)
  • Titus. Tayne nit / Solomon Smulewitz (2:20)
  • The honeysuckle and the bee / Albert H. Fitz, William H. Penn (2:08)
  • America. Tsu gefellen mener / Solomon Smulewitz, William H. Penn (2:34).
Music Library
Music score
1 score (viii, 88 pages) ; 30 cm
  • Arie "Ah, che son fuor di me" [Amore artigiano] (2:00)
  • Arie "Ah, ingrato amor" [Achille in Sciro] (7:00)
  • Arie "Che vuoi dir con questi palpiti" [Amore artigiano] (4:00)
  • Arie "Cogli amanti" (3:00)
  • Arie "Come mi sprezza ancora" (2:00)
  • Arie "Nessuno consola un povero core" [Achille in Sciro] (4:00)
  • Arie "Involarmi" [Achille in Sciro] (4:00).
Music Library
679 pages ; 22 cm.
  • Chronique d'une mort annoncée -- Une situation paradoxale -- Un genre dangereux -- Un genre moribond -- Un genre qu'on assassine -- Une "renaissance" -- Une constatation -- Le renouveau de la mise en scène -- Les hommes du renouveau -- Un enrichissement réciproque -- Les dérives -- L'opéra, un genre d'avenir -- Un genre extrêmement tentant -- De l'utilité des codes -- Le rôle des institutions -- Les festivals -- Les maisons d'opéra -- La délicate question des reprises -- A qui confier le livret ? -- Le compositeur-librettiste -- Wagner, un illustre prédécesseur -- Pourquoi écrire son propre livret ? -- Une solution risquée ? -- Le librettiste extérieur -- Esquisse d'une typologie des librettistes -- Un compositeur très présent -- Un livret à plusieurs mains -- La frustration en partage -- L'opéra littéraire -- Quelle source adapter ? -- Le livret comme adaptation d'une oeuvre littéraire -- Un grand respect du texte original -- Des adaptations romanesques -- Un angle de lecture particulier -- Le livret comme collage ou montage -- Le collage/montage comme essence du livret -- Des insertions occasionnelles -- Le livret d'après d'autres media -- Les livrets d'après des oeuvres picturales -- Les livrets d'après des oeuvres cinématographiques -- Le livret original -- Des origines variées -- Une expérience particulière -- La seule solution pour l'opéra contemporain ? -- Quel sujet aborder ? -- Quelques thèmes de prédilection -- Les biographies -- L'actualité -- Les mythes -- L'influence de l'Extrême-Orient -- Les méta-opéras -- Passion, émotions et volonté, des ingrédients indispensables -- Un sujet connu de tous -- Quel style adopter ? -- Le livret : un genre à part entière -- Ni du théâtre ni de la poésie -- Santa simplicitas -- Le livret : un texte destiné au compositeur -- Un texte qui inspire -- Un texte qui respire -- La qualité littéraire -- Le dernier refuge du grand style -- Un texte autonome ?
"L'opéra a connu une histoire mouvementée depuis la Seconde Guerre mondiale, celle d'une mort et d'une renaissance. Cet ouvrage détermine les raisons qui ont conduit compositeurs et spectateurs à délaisser le genre lyrique après 1945, laissant à penser qu'il allait disparaître, puis celles qui ont favorisé son retour depuis le début des années 1980. À la lumière de ce contexte historique, cette étude propose une poétique du livret en analysant aussi bien les conditions concrètes de son élaboration que ses particularités thématiques ou stylistiques. Cet ouvrage contribue ainsi à définir le livret comme un genre littéraire à part entière."--Page 4 of cover.
Music Library