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Osmin's Rage : Philosophical Reflections on Opera, Drama, and Text / Peter Kivy.

By: Material type: TextTextPublisher: Ithaca, NY : Cornell University Press, [2018]Copyright date: ©1999Description: 1 online resource (336 p.) : 4 drawings, 2 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501727405
Subject(s): DDC classification:
  • 782.1/01 22
LOC classification:
  • ML3858 .K53 1999eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- Preface to the Cornell Paperbacks Edition -- Preface -- Acknowledgments -- PART I: POSING THE PROBLEM -- I. Ecstasy and prophecy -- II. The art of invention: opera as invented art -- III. Enter Philosophy (in Classical attire) -- IV. The musical parameters -- V. Enter Orpheus (Philosophy attending) -- PART II: SOLVING THE PROBLEM -- VI. Philosophy and Psychology (in early modern dress) -- VII. The irrational entertainment as rational solution -- VIII. Listening with the ear of theory -- IX. Expanding universe -- X. Form, feeling, finale -- XI. Opera as music -- XII. Happy endings -- Notes -- Bibliography -- Index
Summary: In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical—as opposed to a dramatic—necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners are attuned to its seventeenth and eighteenth-century forebears.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781501727405

Frontmatter -- CONTENTS -- Preface to the Cornell Paperbacks Edition -- Preface -- Acknowledgments -- PART I: POSING THE PROBLEM -- I. Ecstasy and prophecy -- II. The art of invention: opera as invented art -- III. Enter Philosophy (in Classical attire) -- IV. The musical parameters -- V. Enter Orpheus (Philosophy attending) -- PART II: SOLVING THE PROBLEM -- VI. Philosophy and Psychology (in early modern dress) -- VII. The irrational entertainment as rational solution -- VIII. Listening with the ear of theory -- IX. Expanding universe -- X. Form, feeling, finale -- XI. Opera as music -- XII. Happy endings -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical—as opposed to a dramatic—necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners are attuned to its seventeenth and eighteenth-century forebears.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)