LEADER 04583nam 22007695 450 001 9910383860203321 005 20190708092533.0 010 $a0-691-63333-9 010 $a0-691-60414-2 010 $a1-4008-6481-X 024 7 $a10.1515/9781400864812 035 $a(CKB)2550000001333148 035 $a(EBL)1700098 035 $a(OCoLC)884012786 035 $a(SSID)ssj0001385166 035 $a(PQKBManifestationID)11833849 035 $a(PQKBTitleCode)TC0001385166 035 $a(PQKBWorkID)11340462 035 $a(PQKB)10526094 035 $a(MiAaPQ)EBC1700098 035 $a(OCoLC)889252403 035 $a(MdBmJHUP)muse40259 035 $a(DE-B1597)447393 035 $a(OCoLC)1013938702 035 $a(OCoLC)1029813202 035 $a(OCoLC)1032687616 035 $a(OCoLC)1037978219 035 $a(OCoLC)1042000573 035 $a(OCoLC)1046612353 035 $a(OCoLC)1046683699 035 $a(OCoLC)1047035200 035 $a(OCoLC)922696147 035 $a(DE-B1597)9781400864812 035 $a(PPN)259901598 035 $a(EXLCZ)992550000001333148 100 $a20190708d2014 fg 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMonstrous Opera $eRameau and the Tragic Tradition /$fCharles Dill 205 $aCourse Book 210 1$aPrinceton, NJ : $cPrinceton University Press, $d[2014] 210 4$d©2014 215 $a1 online resource (220 p.) 225 0 $aPrinceton Studies in Opera ;$v26 300 $aDescription based upon print version of record. 311 $a0-691-04443-0 311 $a1-306-98384-3 320 $aIncludes bibliographical references (p. [183]-193) and index. 327 $t Frontmatter -- $tContents -- $tPreface -- $tAbbreviations -- $tChapter 1. Monstrous Opera -- $tChapter 2. Different Tragedies -- $tChapter 3. Rameau's Twins -- $tChapter 4. Rameau Mise-en-Scène -- $tChapter 5. In the Mirror -- $tNotes -- $tSources Cited -- $tIndex 330 $aOne of the foremost composers of the French Baroque operatic tradition, Rameau is often cited for his struggle to steer lyric tragedy away from its strict Lullian form, inspired by spoken tragedy, and toward a more expressive musical style. In this fresh exploration of Rameau's compositional aesthetic, Charles Dill depicts a much more complicated figure: one obsessed with tradition, music theory, his own creative instincts, and the public's expectations of his music. Dill examines the ways Rameau mediated among these often competing values and how he interacted with his critics and with the public. The result is a sophisticated rethinking of Rameau as a musical innovator.In his compositions, Rameau tried to highlight music's potential for dramatic meanings. But his listeners, who understood lyric tragedy to be a poetic rather than musical genre, were generally frustrated by these attempts. In fact, some described Rameau's music as monstrous--using an image of deformity to represent the failure of reason and communication. Dill shows how Rameau answered his critics with rational, theoretical arguments about the role of music in lyric tragedy. At the same time, however, the composer sought to placate his audiences by substantially revising his musical texts in later performances, sometimes abandoning his most creative ideas.Monstrous Opera illuminates the complexity of Rameau's vision, revealing not only the tensions within the music but also the conflicting desires that drove the man--himself caricatured by his contemporaries as a monster.Originally published in 1998.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. 410 0$aPrinceton studies in opera. 606 $aTragedy in music 606 $aOpera$zFrance$y18th century 608 $aElectronic books. 615 0$aTragedy in music. 615 0$aOpera 676 $a782.1/092 700 $aDill$b Charles, $0953447 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910383860203321 996 $aMonstrous Opera$92155620 997 $aUNINA