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by Christopher Morris

Author: Christopher Morris
Subcategory: Music
Language: English
Publisher: Cambridge University Press (May 20, 2002)
Pages: 232 pages
Category: Photo and Art
Rating: 4.4
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For each opera, he analyzes the music of the interlude and its place in the larger musical architecture, examines its dramatic function, and discusses the composer's (and sometimes the librettist's) writings and biography.

Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages.

11 Jun 2005 Morris also discusses how interludes can construct notions of subjectivity and interiority.

MORRIS: Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg. Interludes in opera articulate moments when the lush voices of singers and vivid spectacle of scenery and action are removed and often the curtain is drawn, and thus they span a functional gap between textless instrumental music and explicit theatrical vehicle. Morris also discusses how interludes can construct notions of subjectivity and interiority.

Orchestral Interludes and Cultural Meaning from Wagner to Berg, by Christopher Morris (New Perspectives in. .

Orchestral Interludes and Cultural Meaning from Wagner to Berg, by Christopher Morris (New Perspectives in Music History and Criticism). Cox, G. (2003) Reading Opera between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg, by Christopher Morris (New Perspectives in Music History and Criticism). In: Notes, Vol. 60, No. 1, pp. 187-188.

The recent book Reading Opera between the Lines . Morris, too, errs along the same lines, in trying to show inappropriate gender stereotyping in Schreker’s male.

The recent book Reading Opera between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg gives the impression of a pentimento-like double image, that of its surface-the next volume in the poststructuralist take on opera-and that of an underlying Urbuch in which the same issues are discussed without the patina of gender studies.

New perspectives in music history and criticism. Setting up reading intentions help you organise your course reading. It makes it easy to scan through your lists and keep track of progress. Here's an example of what they look like: Your reading intentions are also stored in your profile for future reference. How do I set a reading intention.

cle{Cox2003ReadingOB, title {Reading Opera between the Lines: Orchestral Interludes . layers of the action by balancing music, scene, and colour

A discussion of the censored versions of this opera-Eustorgia di Romano (Florence, 1838 and Bologna, 1841) and La rinegata (Turino, 1846/47)- additionally reveals the intensity and the novelty of these dramatic characteristics on the Italian opera stage.

Walmart 9780521001977. New Perspectives in Music History and Criticism. Cambridge University Press.

Opera Between the Lines : Orchestral Interludes and Cultural Meaning .

book by Christopher Morris. Reading Opera Between the Lines : Orchestral Interludes and Cultural Meaning from Wagner to Berg. by Christopher Morris. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters.

Morris, Christopher, Reading Opera between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to.Tomlinson, Gary, The Singing of the New World: Indigenous Voice in the Era of European Contact

Morris, Christopher, Reading Opera between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg. Dillon, Emma, Medieval Music-Making and the ‘Roman de Fauvel’. Yearsley, David, Bach and the Meanings of Counterpoint. Metzer, David, Quotation and Cultural Meaning in the Twentieth Century. Tomlinson, Gary, The Singing of the New World: Indigenous Voice in the Era of European Contact. Gelbart, Matthew, The Invention of Folk Music and Art Music: Emerging Categories from Ossian to Wagner. Bloechl, Olivia . Native American Song at the Frontiers of Early Modern Music.

A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters. Combining studies of individual musical texts with an investigation of the critical discourse surrounding the operas, Christopher Morris investigates the implications of these important but strangely overlooked passages.