LEADER 03292nam 2200589Ia 450 001 9910829087303321 005 20200520144314.0 010 $a1-315-59692-X 010 $a1-317-09157-4 010 $a1-317-09156-6 010 $a1-280-68986-2 010 $a9786613666802 010 $a1-4094-4236-5 035 $a(CKB)2670000000175477 035 $a(EBL)883346 035 $a(OCoLC)784886044 035 $a(SSID)ssj0000623161 035 $a(PQKBManifestationID)11388698 035 $a(PQKBTitleCode)TC0000623161 035 $a(PQKBWorkID)10647299 035 $a(PQKB)11395646 035 $a(MiAaPQ)EBC883346 035 $a(EXLCZ)992670000000175477 100 $a20110819d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMusic, sexuality and the enlightenment in Mozart's Figaro, Don Giovanni and Cosi Fan Tutte /$fCharles Ford 205 $a1st ed. 210 $aFarnham, Surrey, U.K. ;$aBurlington, VT $cAshgate Pub.$d2012 215 $a1 online resource (351 p.) 300 $aDescription based upon print version of record. 311 $a0-7546-6889-4 320 $aIncludes bibliographical references and index. 327 $aCover; 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 327 $a14 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 Cosi? fan tutte, Act II Finale; 21 The Futures of the Operas; Bibliography; Music Examples; Index 330 $aThis analytical study explains how Mozart's music for Le Nozze di Figaro, Don Giovanni and Cosi? 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 606 $aSex in music 606 $aOpera$y18th century 615 0$aSex in music. 615 0$aOpera 676 $a782.1092 700 $aFord$b Charles$g(Charles C.)$043832 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910829087303321 996 $aMusic, sexuality and the enlightenment in Mozart's Figaro, Don Giovanni and Cosi? Fan Tutte$93929624 997 $aUNINA