Osmin's Rage: Philosophical Reflections on Opera, Drama, and Text, with a New Final ChapterCornell University Press, 1999 - 317 páginas In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical--as opposed to a dramatic--necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners are attuned to its seventeenth and eighteenth-century forebears. |
Contenido
Ecstasy and prophecy | 3 |
opera as invented | 16 |
Enter Philosophy in Classical attire | 28 |
The musical parameters | 49 |
Enter Orpheus Philosophy attending | 62 |
Philosophy and Psychology in early modern dress | 300 |
Happy endings | 308 |
Otras ediciones - Ver todas
Osmin's Rage: Philosophical Reflections on Opera, Drama, and Text Peter Kivy Vista previa limitada - 2018 |
Términos y frases comunes
Alison animal spirits answer argument Aristotle arousal artistic association of ideas associationist beauty begin called Camerata capo aria Cartesian psychology chapter character claim composer Così fan tutte course da capo aria Descartes Don Giovanni Donington drama-made-music dramatic ensemble eighteenth century emotions esprits animaux Euridice example fan tutte Figaro Galilei genre Handel Handel's operas Handelian opera seria happy ending Hartley Hartley's human Hutcheson Ibid Idomeneo imitation instrumental music invention kind least libretto Mattheson means melody Monteverdi motion Mozart music drama musical expression musical form nature object opera as drama opera buffa opera seria Orfeo overture painful passage passions perhaps philosophical picardy third Plato pleasure polyphony principle problem pure musical parameters question represent ritornello secco recitative seems sense singing sonata form soul sound speaking speech stile rappresentativo suggest surely theory things thought tion vibrations voice words Wozzeck writes