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Unsung Voices: Opera and Musical Narrative in the Nineteenth Century
Who "speaks" to us in The Sorcerer's Apprentice, in Wagner's operas, in a Mahler symphony? In asking this question, Carolyn Abbate opens nineteenth-century operas and instrumental works to new
Music—Drastic or Gnostic?
What does it mean to write about performedmusic? About an opera live and unfolding in time and not an operatic work? Shouldn’t this be whatwe do, since we love music for its reality, for voices and
Music and Discourse: Toward a Semiology of Music
When there are many people who don't need to expect something more than the benefits to take, we will suggest you to have willing to reach all benefits. Be sure and surely do to take this music and
In search of opera
In her new book, Carolyn Abbate considers the nature of operatic performance and the acoustic images of performance present in operas from Monteverdi to Ravel. Paying tribute to music's realization
A History of Opera
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Sound Object Lessons
Two brief film sequences, in which paper blowing down a street ( The Informer , 1935) and a candle passed along a table ( The Old Dark House , 1931) make sounds. Next to them lies an antique
Music and the ineffable
Vladimir Jankelevitch left behind a remarkable ?uvre steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a
Outside Ravel's Tomb
In his 1956 study of Ravel, Vladimir Jankelevitch remarked that music machines and animated objects are pervasive motifs in the composer9s oeuvre. These motifs shaped Le Tombeau de Couperin (1917)
Overlooking the Ephemeral
This essay considers philosophical and aesthetic issues at stake in dealing with ephemeral arts such as performed music and exhibited film. Taking inspiration from Hans Ulrich Gumbrecht’s writings on
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