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Record Nr. |
UNINA9910789910303321 |
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Autore |
Ford Charles (Charles C.) |
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Titolo |
Music, sexuality and the enlightenment in Mozart's Figaro, Don Giovanni and Così Fan Tutte [[electronic resource] /] / Charles Ford |
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Pubbl/distr/stampa |
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Farnham, Surrey, U.K. ; ; Burlington, VT, : Ashgate Pub., 2012 |
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ISBN |
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1-315-59692-X |
1-317-09157-4 |
1-317-09156-6 |
1-280-68986-2 |
9786613666802 |
1-4094-4236-5 |
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Descrizione fisica |
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1 online resource (351 p.) |
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Disciplina |
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Soggetti |
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Sex in music |
Opera - 18th century |
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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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Description based upon print version of record. |
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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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Cover; Contents; List of Figures and Tables; List of Music Examples; Notes on the Text; Part I: Overtures; 1 Introduction; 2 Enlightenment as Negative Freedom; 3 Enlightened Music; Part II: Masculine Music; 4 Music of Enlightened Masculinity; 5 Angry Masculine Music; 6 Libertinage and Musical Libertinage; 7 The Enlightenment's Legitimation of Feelings; 8 Sensitive Masculine Music; 9 Music of Enlightened Femininity; 10 Sorrowful Feminine Music; 11 Hysterical Feminine Music; 12 Music of Feminine Moral Frailty; 13 The Musical Ridicule of Female Intentions |
14 Two Maids' and a Peasant Girl's MusicConclusions to Part III The Differentiation of Feminine Music; Part IV: Seductions; 15 Simple Musical Seductions; 16 Complex Musical Seduction: Fiordiligi and Ferrando; Part V: Finales; 17 Five Finales; 18 Don Giovanni and the Stone Man; 19 Kant, Sade and Don Giovanni; 20 Così fan tutte, Act II Finale; 21 The Futures of the Operas; Bibliography; Music Examples; Index |
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Sommario/riassunto |
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This analytical study explains how Mozart's music for Le Nozze di |
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Figaro, Don Giovanni and Così fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another. Mozart did not merely interpret Da Ponte's characterisations but lent them temporal, musical forms. Charles Ford's analysis presents a new method by which to relate the music of the operas to the thinking of the European Enlightenment, involving close readings of late eighteenth-century understandings of 'man' and nature, self and other, morality and transgression, and gendered identities and sexuali |
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