03021nam 22006855 450 99621334400331620201028234844.01-322-97431-41-4008-4383-910.1515/9781400843831(CKB)2660000000000174(EBL)1977740(OCoLC)738550840(SSID)ssj0000333484(PQKBManifestationID)11242054(PQKBTitleCode)TC0000333484(PQKBWorkID)10355619(PQKB)10814789(MiAaPQ)EBC1977740(OCoLC)558428609(MdBmJHUP)muse49025(DE-B1597)459764(OCoLC)979578975(DE-B1597)9781400843831(dli)HEB06245(MiU)MIU01000000000000007294860(PPN)259898694(EXLCZ)99266000000000017420190708d1996 fg engur|n|---|||||txtccrUnsung Voices Opera and Musical Narrative in the Nineteenth Century /Carolyn AbbatePrinceton, NJ :Princeton University Press,[1996]©19961 online resource (288 p.)Princeton Studies in Opera ;1Description based upon print version of record.0-691-09140-4 0-691-02608-4 Includes bibliographical references (p. [275]-282) and index.Frontmatter --CONTENTS --Preface --Chapter One. Music's Voices --Chapter Two. What the Sorcerer Said --Chapter Three. Cherubino Uncovered: Reflexivity in Operatic Narration --Chapter Four. Mahler's Deafness: Opera and the Scene of Narration in Todtenfeier --Chapter Five. Wotan's Monologue and the Morality of Musical Narration --Chapter Six. Brünnhilde Walks by Night --Notes --Bibliography --IndexWho "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 interpretations as she explores the voices projected by music. The nineteenth-century metaphor of music that "sings" is thus reanimated in a new context, and Abbate proposes interpretive strategies that "de-center" music criticism, that seek the polyphony and dialogism of music, and that celebrate musical gestures often marginalized by conventional music analysis.Princeton studies in opera.Narrative in musicMusic19th centuryPhilosophy and aestheticsOpera19th centuryNarrative in music.MusicPhilosophy and aesthetics.Opera782.1/09/034Abbate Carolyn749367DE-B1597DE-B1597BOOK996213344003316Unsung Voices2160670UNISA