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100   $a20150120h20152015  uy             0
101 0 $aeng
135   $aur|nu---|u||u
181   $ctxt
182   $cc
183   $acr
200 14$aThe castrato $ereflections on natures and kinds /$fMartha Feldman
210  1$aOakland, California :$cUniversity of California Press,$d2015.
210  4$dİ2015
215   $a1 online resource (496 p.)
225 1 $aErnest Bloch Lectures
300   $aDescription based upon print version of record.
311 0 $a1-322-88434-X 
311 0 $a0-520-27949-2 
320   $aIncludes bibliographical references and index.
327   $tFront matter --$tContents --$tPreface --$tNote on Textual Transcription, Translations, Lexicon, and Musical Nomenclature --$t1. Of Strange Births and Comic Kin --$t2 The Man Who Pretended to Be Who He Was --$t3. Red Hot Voice --$t4 Castrato De Luxe --$t5. Cold Man, Money Man, Big Man Too --$t6. Shadow Voices, Castrato and Non --$tAcknowledgments --$tAbbreviations --$tNotes --$tBibliography --$tIllustrations --$tIndex
330   $aThe Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato's comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy-involving teachers, patrons, colleagues, and relatives-whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers-from Cavalli and Pergolesi to Handel, Mozart, and Rossini-were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. Although the castrati failed to survive, their musicality and vocality have persisted long past their literal demise.
410  0$aErnest Bloch lectures.
606   $aCastrati
610   $a16th century practices.
610   $abel canto.
610   $abodily mutations.
610   $acastrated for music.
610   $acastrated males.
610   $acastrated singers.
610   $acastrati and eunuchs.
610   $acastrati musicians.
610   $acastrati vocalists.
610   $acastrati.
610   $acastration.
610   $acastrato voices.
610   $acastrato.
610   $acatholic blood sacrifice.
610   $acavalli.
610   $aeunuch singers.
610   $ahandel.
610   $ahigh male voices.
610   $ahistorical body mutations.
610   $ahistory of castration.
610   $ahistory of music.
610   $ahistory of singing.
610   $amozart.
610   $amusic history.
610   $amusic.
610   $anonsexual castration.
610   $apergolesi.
610   $apulcinella.
610   $arossini.
615  0$aCastrati.
676   $a782.8/6
700   $aFeldman$b Martha$027650
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910819177503321
996   $aThe castrato$94006464
997   $aUNINA