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1. |
Record Nr. |
UNISALENTO991003673309707536 |
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Autore |
De Frede, Carlo |
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Titolo |
Varietà erudite Carlo De Frede |
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Pubbl/distr/stampa |
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[Napoli] : Fausto Fiorentino editore, [1959?] |
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Descrizione fisica |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Estr. da: Biblion, anno I, fasc. 3 e 4 (1959) |
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Nota di contenuto |
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I. Due sconosciuti maestri dello studio di Napoli: Pietro Da Taranto e Pietro Da Amalfi |
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2. |
Record Nr. |
UNINA990004839100403321 |
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Autore |
Shaw, Bernard <1856-1950> |
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Titolo |
Geneva Cymbeline Refinished Good King Charles / by Bernard Shaw |
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Pubbl/distr/stampa |
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London, : Constable and Co., 1946 |
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Descrizione fisica |
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Locazione |
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Collocazione |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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3. |
Record Nr. |
UNINA9910786727703321 |
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Autore |
Trippett David <1980-> |
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Titolo |
Wagner's melodies : aesthetics and materialism in German musical identity / / David Trippett [[electronic resource]] |
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Pubbl/distr/stampa |
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Cambridge : , : Cambridge University Press, , 2013 |
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ISBN |
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1-139-88851-X |
1-107-06496-1 |
1-107-05656-X |
1-107-05445-1 |
1-107-05766-3 |
1-139-01370-X |
1-107-05891-0 |
1-107-05547-4 |
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Descrizione fisica |
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1 online resource (xiv, 448 pages) : digital, PDF file(s) |
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Disciplina |
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Soggetti |
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Music - 19th century - Philosophy and aesthetics |
Melody |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Title from publisher's bibliographic system (viewed on 05 Oct 2015). |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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German melody -- Melodielehre? -- Wagner in the melodic workshop -- Excursus : Bellini's Sinnlichkeit, Wagner's Italy -- Hearing voices : Wilhelmine Schroder-Devrient and the Lohengrin recitatives -- Vowels, voices, and "original truth" -- Wagner's material expression. |
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Sommario/riassunto |
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Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indispensable place in opera, contemporary theorists were unable even to agree on a definition for it. In Wagner's Melodies, David Trippett re-examines Wagner's central aesthetic claims, placing the composer's ideas about melody in the context of the scientific discourse of his age: from the emergence of the natural sciences and historical linguistics to sources about music's stimulation of the body and inventions for |
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'automatic' composition. Interweaving a rich variety of material from the history of science, music theory, music criticism, private correspondence and court reports, Trippett uncovers a new and controversial discourse that placed melody at the apex of artistic self-consciousness and generated problems of urgent dimensions for German music aesthetics. |
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