Our image of Beethoven has been transformed by the research generated by a succession of scholars and theorists who blazed new trails from the 1960s onwards. This collection of articles written by leading Beethoven scholars brings together strands of this mainly Anglo-American research over the last fifty years and addresses a range of key issues. The volume places Beethoven scholarship within a historical and contemporary context and considers the future of Beethoven studies.
Nader Shah, ruler of Persia from 1736 to 1747, embodied ruthless ambition, energy, military brilliance, cynicism and cruelty. His reign was filled with bloodshed, betrayal and horror. Yet, Nader Shah is central to Iran's early modern history. From a shepherd boy, he rose to liberate his country from foreign occupation, and make himself Shah. He took eighteenth century Iran in a trajectory from political collapse and partition to become the dominant power in the region, briefly opening the prospect of a modernising state that could have resisted colonial intervention in Asia. He recovered all the territory lost by his predecessors, including Herat and Kandahar, and went on to conquer Moghul Delhi, plundering the enormous treasures of India. Nader commanded the most powerful military force in Asia, if not the world. He repeatedly defeated the armies of Ottoman Turkey, the preeminent State of Islam, overran most of what is now Iraq and threatened to take Baghdad on several occasions. But from the zenith of his success he declined into illness, insane avarice and horrific savagery, committing terrible atrocities against the Persian people, his friends, and even his family, until he finally died as violently as he had lived. The "Sword of Persia" recreates the story of a remarkable, ruthless man, capable of both charm and brutality. It is a rich narrative, full of dramatic incident, including much new research into original Iranian and other material, which will prove indispensable to historians and students. The book includes many contemporary illustrations, and maps.
Examines America's early reception to Beethoven, the use of his work and image in American music, movies, stage works, and other forms of popular culture, and related topics.
How one extraordinary pianist, scholar, and editor prepared for publication important scores by Ives, Copland, and Ruggles, and reshaped the history of American musical modernism. For over sixty years, the scholar and pianist John Kirkpatrick tirelessly promoted and championed the music of American composers. In this book, Drew Massey explores how Kirkpatrick's career as an editor of music shaped the musicand legacies of some of the great American modernists, including Aaron Copland, Ross Lee Finney, Roy Harris, Hunter Johnson, Charles Ives, Robert Palmer, and Carl Ruggles. Drawing on oral histories, interviews, and Kirkpatrick's own extensive archives, Massey carefully reconstructs Kirkpatrick's collaborations with such luminaries, displaying his editorial practice and inviting reconsideration of many of the most important debates in American modernism --for example, the self-fashioning of young composers during the 1940s, the cherished myth of Ruggles as a composer in communion with the "timeless," and Ives's status as a pioneer of modernist techniques. First winner (November 2014) of ASCAP's Virgil Thomson Award for Outstanding Music Criticism. Drew Massey is an Assistant Professor of Music at Binghamton University.
In the 8th edition of this market-leading title, The World Today continues to break new ground in the interpretation and teaching of world regional geography. The text explains the contemporary world’s geographic realms in terms of their natural environments and human dimensions in a clear and concise fashion. The authors look at the ways people have organized their living space, adapted to changing social as well as environmental circumstances, and continue to confront forces largely beyond their control, ranging from globalization to climate change. This book offers an approach to Geography that meshes theoretical concepts with regional realities. The evolving regional content of the chapters in the 8th edition of The World Today reflects the dynamic nature of the world’s geography; the changing and growing number of concepts mirror the progress of the discipline; and the ongoing introduction of new digital features reflects the instructional possibilities of new technologies.
Since its first appearance, Geography: Realms, Regions, and Concepts has consistently broken new ground in the interpretation and teaching of world regional geography. For more than four decades, REGIONS, as it has come to be called, has explained the contemporary world's geographic realms and their natural environments and human dimensions. The authors look at the ways people have organized their living space, adapted to changing social as well as environmental circumstances, and continue to confront forces largely beyond their control, ranging from globalization to climate change. This book was the first to introduce an approach to Geography that meshes theoretical concepts with regional realities. The evolving regional content of the chapters in REGIONS, 18th Edition, reflects the dynamic nature of the world's geography; the changing and growing number of concepts mirror the progress of the discipline; and the ongoing introduction of new digital features reflects the instructional possibilities of new technologies.
The play of concepts and conceptual structures typical of music theory is thus not something remote from our appreciation of music, but is instead basic to it."--Jacket.
Beethoven's late style is the language of his ninth symphony, the Missa Solemnis, the last piano sonatas and string quartets, the Diabelli Variations, the Bagatelles, as well as five piano sonatas, five string quartets, and several smaller piano works. Historically, these works are seen as forging a bridge between the Classical and Romantic traditions: in terms of their musical structure, they continue to be regarded as revolutionary. Spitzer's book examines these late works in light of the musical and philosophical writings of the German intellectual Theodor Adorno, and in so doing, attempts to reconcile the conflicting approaches of musical semiotics and critical theory. He draws from various approaches to musical, linguistic, and aesthetic meaning, relating Adorno to such writers as Derrida, Benjamin, and Habermas, as well as contemporary music theorists. Through analyses of Beethoven's use of specific musical techniques (including neo-Baroque fugues and counterpoint), Spitzer suggests that the composer's last works offer a philosophical and musical critique of the Enlightenment, and in doing so created the musical language of premodernism.
This pathbreaking work reveals the pivotal role of music--musical works and musical culture--in debates about society, self, and culture that forged European modernity through the "long nineteenth century." Michael Steinberg argues that, from the late 1700s to the early 1900s, music not only reflected but also embodied modern subjectivity as it increasingly engaged and criticized old regimes of power, belief, and representation. His purview ranges from Mozart to Mahler, and from the sacred to the secular, including opera as well as symphonic and solo instrumental music. Defining subjectivity as the experience rather than the position of the "I," Steinberg argues that music's embodiment of subjectivity involved its apparent capacity to "listen" to itself, its past, its desires. Nineteenth-century music, in particular music from a north German Protestant sphere, inspired introspection in a way that the music and art of previous periods, notably the Catholic baroque with its emphasis on the visual, did not. The book analyzes musical subjectivity initially from Mozart through Mendelssohn, then seeks it, in its central chapter, in those aspects of Wagner that contradict his own ideological imperialism, before finally uncovering its survival in the post-Wagnerian recovery from musical and other ideologies. Engagingly written yet theoretically sophisticated, Listening to Reason represents a startlingly original corrective to cultural history's long-standing inhibition to engage with music while presenting a powerful alternative vision of the modern. Some images inside the book are unavailable due to digital copyright restrictions.
Prisons operate according to the clockwork logic of our criminal justice system: we punish people by making them “serve” time. The Cage of Days combines the perspectives of K. C. Carceral, a formerly incarcerated convict criminologist, and Michael G. Flaherty, a sociologist who studies temporal experience. Drawing from Carceral’s field notes, his interviews with fellow inmates, and convict memoirs, this book reveals what time does to prisoners and what prisoners do to time. Carceral and Flaherty consider the connection between the subjective dimensions of time and the existential circumstances of imprisonment. Convicts find that their experience of time has become deeply distorted by the rhythm and routines of prison and by how authorities ensure that an inmate’s time is under their control. They become obsessed with the passage of time and preoccupied with regaining temporal autonomy, creating elaborate strategies for modifying their perception of time. To escape the feeling that their lives lack forward momentum, prisoners devise distinctive ways to mark the passage of time, but these tactics can backfire by intensifying their awareness of temporality. Providing rich and nuanced analysis grounded in the distinctive voices of diverse prisoners, The Cage of Days examines how prisons regulate time and how prisoners resist the temporal regime.
When asked to describe what music means to them, most people talk about its power to express or elicit emotions. As a melody can produce a tear, tingle the spine, or energize athletes, music has a deep impact on how we experience and encounter the world. Because of the elusiveness of these musical emotions, however, little has been written about how music creates emotions and how musical emotion has changed its meaning for listeners across the last millennium. In this sweeping landmark study, author Michael Spitzer provides the first history of musical emotion in the Western world, from Gregorian chant to Beyoncé. Combining intellectual history, music studies, philosophy, and cognitive psychology, A History of Emotion in Western Music introduces current approaches to the study of emotion and formulates an original theory of how musical emotion works. Diverging from psychological approaches that center listeners' self-reports or artificial experiments, Spitzer argues that musical emotions can be uncovered in the techniques and materials of composers and performers. Together with its extensive chronicle of the historical evolution of musical style and emotion, this book offers a rich union of theory and history.
This book examines the history, culture, and science behind health myths. The word “myth” can have two quite different meanings: (1) a shared tradition or story and (2) a belief that can be falsified. Most previous books have focused on “busting” the second type of myth – explaining why the myth is false. In contrast, “Believe It or Not: The History, Culture, and Science Behind Health Beliefs and Practices” explores the cultural and religious origins of each belief or practice and how it varies among countries and, within countries, according to age, education, ethnicity, and urban vs rural location. Most importantly, the book relies on systematic reviews and meta-analyses to assess the extent to which the health beliefs and practices are true and influence health status. Previous “myth-busting” books have not attempted rigorous, systematic evaluations of the scientific evidence for and against the beliefs and practices they discuss. This book includes a range of chapters dedicated to infection, skin and eye conditions, diet and food, and pregnancy and childbirth. In an era when social media, fake news, and contradictory opinions are a mere click away, people deserve to understand the science underlying common health beliefs. Believe It or Not: The History, Culture, and Science Behind Health Beliefs and Practices is a valuable read for the general public, curious about health and science but without technical, scientific, or medical training.
In the early fourteenth century, musicians in France and later Italy established new traditions of secular and sacred polyphony. This ars nova, or "new art," popularized by theorists such as Philippe de Vitry and Johannes de Muris was the among the first of many later movements to establish the music of the present as a clean break from the past. The rich music of this period, by composers such as Guillaume de Machaut and Francesco Landini, is not only beautiful, but also rewards deep study and analysis. Yet contradictions and gaps abound in the ars nova of the fourteenth and early fifteenth centuries-how do we read this music? how do we perform this music? what was the cultural context of these performances? These problems are well met by the ingenuity of approaches and solutions found by scholars in this volume. The twenty-seven articles brought together reflect the broad methodological and chronological range of scholarly inquiry on the ars nova.
An interdisciplinary study of the interconnected subtexts of erotic attraction, illness, and death in several 19th- and 20th-century operatic texts. This is an examination of how opera uses the singing body to give voice to the suffering person. It presents medical and literary sources to make sense of the changing depiction of disease in opera.
Although he was a suburban husband and father, living a far different life than the “Wolf of Wall Street,” Michael Kimelman had a good run as the cofounder of a hedge fund. He had left a cushy yet suffocating job at a law firm to try his hand at the high-risk life of a proprietary trader — and he did pretty well for himself. But it all came crashing down in the wee hours of November 5, 2009, when the Feds came to his door—almost taking the door off its hinges. While his wife and children were sequestered to a bedroom, Kimelman was marched off in embarrassment in view of his neighbors and TV crews who had been alerted in advance. He was arrested as part of a huge insider trading case, and while he was offered a “sweetheart” no-jail probation plea, he refused, maintaining his innocence. The lion’s share of Confessions of a Wall Street Insider was written while Kimelman was an inmate at Lewisburg Penitentiary. In nearly two years behind bars, he reflected on his experiences before incarceration—rubbing elbows and throwing back far too many cocktails with financial titans and major figures in sports and entertainment (including Leonardo DiCaprio, Alex Rodriguez, Ben Bernanke, and Alan Greenspan, to drop a few names); making and losing hundreds of thousands of dollars in daily gambles on the Street; getting involved with the wrong people, who eventually turned on him; realizing that none of that mattered in the end. As he writes: “Stripped of family, friends, time, and humanity, if there’s ever a place to give one pause, it’s prison . . . Tomorrow is promised to no one.” In Confessions of a Wall Street Insider, he reveals the triumphs, pains, and struggles, and how, in the end, it just might have made him a better person. Skyhorse Publishing, along with our Arcade, Good Books, Sports Publishing, and Yucca imprints, is proud to publish a broad range of biographies, autobiographies, and memoirs. Our list includes biographies on well-known historical figures like Benjamin Franklin, Nelson Mandela, and Alexander Graham Bell, as well as villains from history, such as Heinrich Himmler, John Wayne Gacy, and O. J. Simpson. We have also published survivor stories of World War II, memoirs about overcoming adversity, first-hand tales of adventure, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.
‘Written with Burleigh’s characteristic brio, with pithy summaries of historical moments (he is brilliant on the Americans in Vietnam, for example) and full of surprising vignettes’ – The Times ’Book of the Week’ In Day of the Assassins, acclaimed historian Michael Burleigh examines assassination as a special category of political violence and asks whether, like a contagious disease, it can be catching. Focusing chiefly on the last century and a half, Burleigh takes readers from Europe, Russia, Israel and the United States to the Congo, India, Iran, Laos, Rwanda, South Africa and Vietnam. And, as we travel, we revisit notable assassinations, among them Leon Trotsky, Hendrik Verwoerd, Juvénal Habyarimana, Indira Gandhi, Yitzhak Rabin and Jamal Khashoggi. Combining human drama, questions of political morality and the sheer randomness of events, Day of the Assassins is a riveting insight into the politics of violence. ‘Brilliant and timely . . . Our world today is as dangerous and mixed-up as it has ever been. Luckily we have Michael Burleigh to help us make sense of it.’ – Mail on Sunday
This book provides a general introduction to the history of Jewish life in 14th century Asia at the time of the conqueror Tamerlane (Timur). The author defines who are the Central Asian Jews, and describes the attitudes towards the Jews, and the historical consequences of this relationship with Tamerlane. Left alone to live within a stable empire, the Jews prospered under Tamerlane. In founding an empire, Tamerlane had delivered Central Asia from the last Mongols, and brought the nations of Transoxonia within the orbit of Persian civilisation. The Central Asian Jews accepted this spirit and preserved it until modern times in their language and culture.
Michael Steinberg's 1996 volume The Symphony: A Reader's Guide received glowing reviews across America. It was hailed as "wonderfully clear...recommended warmly to music lovers on all levels" (Washington Post), "informed and thoughtful" (Chicago Tribune), and "composed by a master stylist" (San Francisco Chronicle). Seiji Ozawa wrote that "his beautiful and effortless prose speaks from the heart." Michael Tilson Thomas called The Symphony "an essential book for any concertgoer." Now comes the companion volume--The Concerto: A Listener's Guide. In this marvelous book, Steinberg discusses over 120 works, ranging from Johann Sebastian Bach in the 1720s to John Adams in 1994. Readers will find here the heart of the standard repertory, among them Bach's Brandenburg Concertos, eighteen of Mozart's piano concertos, all the concertos of Beethoven and Brahms, and major works by Mendelssohn, Schumann, Liszt, Bruch, Dvora'k, Tchaikovsky, Grieg, Elgar, Sibelius, Strauss, and Rachmaninoff. The book also provides luminous introductions to the achievement of twentieth-century masters such as Arnold Schoenberg, Be'la Barto'k, Igor Stravinsky, Alban Berg, Paul Hindemith, Sergei Prokofiev, Aaron Copland, and Elliott Carter. Steinberg examines the work of these musical giants with unflagging enthusiasm and bright style. He is a master of capturing the expressive, dramatic, and emotional values of the music and of conveying the historical and personal context in which these wondrous works were composed. His writing blends impeccable scholarship, deeply felt love of music, and entertaining whimsy. Here then is a superb journey through one of music's richest and most diverse forms, with Michael Steinberg along as host, guide, and the best of companions.
This study provides a new interpretation of how political authority was conceived and transmitted in the Early Mongol Empire (1227-1259) and its successor state in the Middle East, the Īlkhānate (1258-1335). Authority within the Mongol Empire was intimately tied to the character of its founder, Chinggis Khan, whose reign served as an idealized model for the exercise of legitimate authority amongst his political successors. Yet Chinggis Khan's legacy was interpreted differently by the various factions within his army. In the years after his death, two distinct political traditions emerged within the Mongol Empire, the collegial and the patrimonialist. Each of these streams represented the economic and political interests of different groups within the Mongol Empire, respectively, the military aristocracy and the central government. The supporters of both streams claimed to adhere to the ideal of Chinggisid rule, but their different statuses within the Mongol community led them to hold divergent views of what constituted legitimate political authority. Michael Hope's study details the origin of, and the differences between, these two streams of tradition; analyzing the role that these streams played in the political development of the Mongol Empire and the Īlkhānate; and assessing the role that ideological tension between the two streams played in the events leading up to the division of the Īlkhānate. Hope demonstrates that the policy and identity of both the Early Mongol Empire and the Īlkhānate were defined by the conflict between these competing streams of Chinggisid authority.
Acknowledgements To Users of this Research Guide I. Introduction II. Introducing Wagner: Compendia and Other Survey Studies III. Researching Wagner: Reference Works of Various Kinds IV. The Documentary Legacy V. Wagner's Life and Character VI. Wagner as Composer: Studies in Techniques, Styles, and Influences VII. Wagner as Music-Dramatist VIII. Wagner as Instrumental and Vocal Composer and Arranger IX. Performing Wagner X. Wagner as Poet, Prose Writer, and Philosopher XI. Criticizing Wagner XII. Wagner and Culture, Past and Present XIII. After Wagner: Bayreuth, the Festivals, and Wagner's Descendents Index
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.
The history of 18th century Iran has been neglected but is vital for understanding contemporary Iran, and is a fascinating drama in its own right. This book presents contributions from the leading experts on this period worldwide, and is a major advance in this important area of Iranian Studies.
Award-winning graphic artist T. Michael Clark has written a visual, two-color, step-by-step guide to the practical use of Paint Shop Pro that will give intermediate-level creative professionals an edge on design. Topics include: image retouching, color correction, creating contact sheets, preparing Web images and creating special effects.
In this unique and hybrid book, cultural and music historian Michael P. Steinberg combines a close analysis of Wagnerian music drama with a personal account of his work as a dramaturg on the bicentennial production of The Ring of the Nibelung for the Teatro alla Scala Milan and the Berlin State Opera. Steinberg shows how Wagner uses the power of a modern mythology to heighten music’s claims to knowledge, thereby fusing not only art and politics, but truth and lies as well. Rather than attempting to separate value and violence, or “the good from the bad,” as much Wagner scholarship as well as popular writing have tended to do, Steinberg proposes that we confront this paradox and look to the capacity of the stage to explore its depths and implications. Drawing on decades of engagement with Wagner and of experience teaching opera across disciplines, The Trouble with Wagner is packed with novel insights for experts and interested readers alike.
Iran often appears in the media as a hostile and difficult country. But beneath the headlines there is a fascinating story of a nation of great intellectual variety and depth, and enormous cultural importance. A nation whose impact has been tremendous, not only on its neighbours in the Middle East but on the world as a whole – and through ideas and creativity rather than by the sword. From the time of the prophet Zoroaster, to the powerful ancient Persian Empires, to the revolution of 1979, the hostage crisis and current president Mahmud Ahmadinejad – a controversial figure within as well as outside the country – Michael Axworthy traces a vivid, integrated account of Iran’s past. He explains clearly and carefully both the complex succession of dynasties that ruled ancient Iran and the surprising ethnic diversity of the modern country, held together by a common culture. With Iran again the focus of the world’s attention, and questions about the country’s disposition and intentions pressing, Iran: Empire of the Mind is an essential guide to understanding a complicated land.
The Negev, first published over a decade ago, told the story of some twenty years of study of southern Israel's desert. It synthesized the findings of botanists, geologists, soil scientists, agronomists, archaeologists, historians, and engineers and told how the applications of their work produced an agricultural surplus in this forbiddingly dry, hot region. Now Michael Evenari has amplified the book with data from another decade of work. He describes the efforts at a new farm at Wadi Mashash, extends the weather data another ten years, presents further work on the adaptations of plants and animals to desert conditions, and takes a much deeper look at the historical precedents for the method of runoff agriculture, which has made the desert bloom.
Bills of lading form an essential part of the carriage of goods by sea and international trade. Their multi-functional nature, together with the large volume of case law and regulation, make the law in this field as complex as it is commercially vital. This bestselling book, now in its third edition, provides a detailed analysis of the law and practice applicable to bills of lading before, during, and after shipment, helping today’s busy practitioner to quickly and easily find the information they need. This book has been fully revised and updated with all the major developments, including: reference to increasingly important Singapore and Far-Eastern decisions; an analysis of modern developments in seaworthiness, from vetting and approval clauses to the topical issues of vulnerability and piracy attacks; detailed examination of misdelivery, fraudulent or forged bills of lading, and delivery without production of a bill of lading; revised coverage of conflicts and procedural matters, including anti-suit injunctions, jurisdiction battles, and the scope of arbitration; reference to relevant European law relating to issues of jurisdiction and procedure; comprehensive treatment of switch bills, transhipment, house bills, deck carriage, and container cargo; and new material on the practical implications of electronic bills of lading, and the implications of automated vessels. This text continues to provide an indispensable reference for maritime practitioners and institutions worldwide.
Many hiphoppas labour to sustain Hiphop Kulture in their communities far from the big stages, world tours, and hit singles enjoyed by a shockingly few American hiphoppas. The creative labour of these few mega stars is calculated in billions of dollars. But for most hiphoppas, their creative labour may never get expressed in economic terms. Instead it is expressed in social capital, the production of collective and individual subjectivities, the bonds of love that build and hold communities together, and the healing of broken hearts, broken homes, and broken neighborhoods in broken cities. Hiphop Kulture is NOT a music genre, it is MUCH more, and exploring how the sharing of aesthetic resources builds community, and how situated learning plays a necessary role in cultural sustainability draws out questions that may lead to a model of community located cultural education, and a starting point for a critical pedagogy of music. “I ain’t going to front, academics talking about hiphop scares me and often pisses me off. I’m protective about this culture like it’s my own baby because it’s meant so much to me and my close friends. In my less angry moments I do appreciate the fact that this culture still has so much to give to the rest of the world and that the next level is what we give back. Well, we need allies in this complex world to move things forward. As I’ve gotten to know Michael I consider him such an Ally and that his intent is firmly squared in empowering cats in the front lines. I also really dig the fact that he is committed to helping document the histories of those who laid the groundwork in the Edmonton scene. This is the respectful place to start. I look forward to bearing witness to Grass roots Hiphop reclaiming its voice and being at the forefront with academics supporting their community efforts.” – Stephen “Buddha” Leafloor, Founder of the Canadian Floor Masters, Founder of Blueprintforlife.ca, Ashoka Fellow, Social Worker and an aging bboy! “Dr. Michael B. MacDonald’s research into Hip Hop’s pedagogical ingenuity have not only led us to the grassroots of Hip Hop’s rich and vibrant global culture, but to the very Ethos of Hiphop. With bold examination, this exciting research stands at the forefront of contemporary post colonial Hiphop literature.” – Andre Hamilton aka Dre Pharoh, Executive Director Cipher5 Hiphop Academy, Temple of HipHop Canada
Beautiful Monsters explores the ways in which "classical" music made its way into late twentieth-century American mainstream culture—in pop songs, movie scores, and print media. Beginning in the 1960s, Michael Long's entertaining and illuminating book surveys a complex cultural field and draws connections between "classical music" (as the phrase is understood in the United States) and selected "monster hits" of popular music. Addressing such wide-ranging subjects as surf music, Yiddish theater, Hollywood film scores, Freddie Mercury, Alfred Hitchcock, psychedelia, rap, disco, and video games, Long proposes a holistic musicology in which disparate musical elements might be brought together in dynamic and humane conversation. Beautiful Monsters brilliantly considers the ways in which critical commonplaces like nostalgia, sentiment, triviality, and excess might be applied with greater nuance to musical media and media reception. It takes into account twentieth-century media's capacity to suggest visual and acoustical depth and the redemptive possibilities that lie beyond the surface elements of filmic narrative or musical style, showing us what a truly global view of late twentieth-century music in its manifold cultural and social contexts might be like.
SURVIVAL TIPS FOR SONS OF SERIAL KILLERS 1. Change your last name. Be forgettable. 2. Take comfort. Serial killing is not hereditary. Not usually, anyhow. 3. Never contact your parents, whether on Death Row or elsewhere. You are messed up enough. 4. Choose a dull career. Run an ice cream parlor, for instance. 5. Do not fall in love. Sooner or later, she will ask to meet your mom and dad. 6. Trust no one. Not even her. 7. Do not get married. It cannot end well. 8. Keep what you know to yourself. You were just a kid, after all. 9. Do not return to your boyhood home. No one has forgotten anything. SURVIVAL TIPS FOR READERS: Watch your back. Lock your doors. Be courteous to everyone. Yes, everyone. This is your only warning.
Opera and the Novel: The Case of Henry James offers the first full-length study of the theory and practice of the adaptation of fiction into opera: the transference of a work from one medium to another – metaphrasis – is its point of departure. Starting with a survey of the current thinking regarding the nexus between words and music with specific reference to operatic adaptation of existing literary works, it traces the four-hundred-year history of opera, demonstrating that the novel has become increasingly attractive to librettists and composers as an operatic source. As the resources of modern music theatre have increased in sophistication, so too have the possibilities for an expanded engagement with complex fictional works. The intricate relationship between fictional and musical narrative is examined: the proposition that the orchestra assumes much of the function of the narrator in fiction is explored. The second section is a detailed examination of eight operatic works based on Henry James’s fiction. It is opera’s unique capability to present the intense emotional and psychological situations central to James’s fiction as well as the ability to engage with his synthesis of melodrama and psychological ambiguity which makes James’s work peculiarly amenable to operatic adaptation. Composers who have used James as a source include Douglas Moore, Benjamin Britten, Thomas Pasatieri, Donald Hollier, Thea Musgrave, Philip Hagemann and Dominick Argento. The operas discussed represent a contemporary critical and often self-conscious engagement with the art form itself as well as illustrating current adaptive strategies, and suggest ways in which new operatic paths may be forged. This volume is of relevance to students and scholars of English literature and opera as well as readers who take an interest in intermedial research and the question of adaptation in general.
This monograph explores the under-researched use of music in Jean-Luc Godard's films and video essays from the early 1960s to the late 1990s. While Godard is largely hailed as a leading innovator of visual montage, unique storytelling style, and ground-breaking cinematography, his achievements as a leading pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image have been mainly overlooked. On these soundtracks, music assumes the unique role of metafilm music. Metafilm music self-consciously refers to its own role as film music and disrupts the primary function of film music as an essential filmic device creating cinematic illusion. The concept of metafilm music describes how Godard thinks with film music about film music. Metafilm music manifests itself in Godard's work in four distinct manners: as fragmentized musical cues; as the same fragment verbatim repeated several times; as extrapolated, short excerpts from classical or popular music; and as music mixed unusually loudly into the soundtrack. With a detailed analysis of these parameters, the book explores fragmented and repeated music as Godard's critique of the leitmotif technique. Godard further self-reflexively investigates genre-specific music in musical comedies, films noir, and melodramas, as well as prototypical film music as arguably its own musical genre. His last foray into metafilm music entails music-making as a metaphor for filmmaking. By thinking with music about the function of film music, Godard has created throughout his career multi-layered soundtracks which challenge the conventional norms of film music and sound"--
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