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A History of Opera in the American West by Ronald L. Davis Pdf
Focusing on New Orleans, Chicago, and San Francisco, while including the achievements of Dallas, Santa Fe, Central City, and San Antonio, this book traces the development of opera in the American West against an ever changing social milieu. Ranging from the red plush era of the nineteenth century onward, the author covers such grand personalities as Adelina Patti, Nellie Melba, Joan Sutherland, and Maria Callas. Of additional interest is the book's coverage of near endless financial difficulties and natural disasters as well as rich personal anecdotes.
Author : Bill C. Malone,David Stricklin Publisher : University Press of Kentucky Page : 397 pages File Size : 41,9 Mb Release : 2021-10-21 Category : Music ISBN : 9780813184340
Southern Music/American Music by Bill C. Malone,David Stricklin Pdf
The South—an inspiration for songwriters, a source of styles, and the birthplace of many of the nation's greatest musicians—plays a defining role in American musical history. It is impossible to think of American music of the past century without such southern-derived forms as ragtime, jazz, blues, country, bluegrass, gospel, rhythm and blues, Cajun, zydeco, Tejano, rock'n'roll, and even rap. Musicians and listeners around the world have made these vibrant styles their own. Southern Music/American Music is the first book to investigate the facets of American music from the South and the many popular forms that emerged from it. In this substantially revised and updated edition, Bill C. Malone and David Stricklin bring this classic work into the twenty-first century, including new material on recent phenomena such as the huge success of the soundtrack to O Brother, Where Art Thou? and the renewed popularity of Southern music, as well as important new artists Lucinda Williams, Alejandro Escovedo, and the Dixie Chicks, among others. Extensive bibliographic notes and a new suggested listening guide complete this essential study.
Author : Richard W. Etulain Publisher : University of New Mexico Press Page : 335 pages File Size : 40,8 Mb Release : 2023-05-01 Category : History ISBN : 9780826364463
The American West and Its Interpreters by Richard W. Etulain Pdf
Distinguished historian Richard W. Etulain brings together a generous selection of essays from his sixty-year career as a specialist on the US West in this essential volume. Each essay provides an invaluable overview of the rise of western literary history and historiography—including insightful evaluations of individual historians—revealing summaries of regional literature and discussions of western stories yet to be told. Together these writings furnish readers with useful considerations of important subjects about the American West. All those interested in the American West and its interpreters will find these illuminative moments of literary history and historiography especially appealing.
Author : Donald Jay Grout,Hermine Weigel Williams Publisher : Columbia University Press Page : 1049 pages File Size : 45,5 Mb Release : 2003 Category : Opera ISBN : 9780231119580
A Short History of Opera by Donald Jay Grout,Hermine Weigel Williams Pdf
"The fourth edition incorporates new scholarship that traces the most important developments in the evolution of musical drama. After surveying anticipations of the operatic form in the lyric theater of the Greeks, medieval dramatic music, and other forerunners, the book reveals the genre's beginnings in the seventeenth century and follows its progress to the present day."--Jacket.
Opera and the Golden West by John Louis DiGaetani,Josef P. Sirefman Pdf
Opera and the Golden West is a celebration of opera's difficult past in America. It focuses in part on early repertory and how European operatic masterpieces became part of American culture. This book also calls attention to the efforts of American composers as they continually tried to make original contributions to a foreign musical form. Throughout this anthology the contributors use a variety of approaches and styles to analyze the many aspects of opera, and how the form fared in the U.S. In addition to observing where opera has been in this country, this anthology also has an eye to the future. Opera presentation in the coming century may be very different from the current experience. Economics, always a critical factor, may well dictate a different scale of production. Changing tastes in directorial and production values and the expansion of television and video into the home are indicators that a new era has arrived.
Opera for the People is an in-depth examination of a forgotten chapter in American social and cultural history: the love affair that middle-class Americans had with continental opera (translated into English) in the 1870s, 1880s, and 1890s. Author Katherine Preston reveals how-contrary to the existing historiography on the American musical culture of this period-English-language opera not only flourished in the United States during this time, but found its success significantly bolstered by the support of women impresarios, prima-donnas, managers, and philanthropists who provided financial backing to opera companies. This rich and compelling study details the lives and professional activities of several important players in American postbellum opera, including manager Effie Ober, philanthropist Jeannette Thurber, and performers/artistic directors Caroline Richings, Euphrosyne Parepa-Rosa, Clara Louise Kellogg, and "the people's prima donna" Emma Abbott. Drawing from an impressive range of primary sources, including contemporaneous music and theater periodicals, playbills, memoirs, librettos, scores, and reviews and commentary on the performances in digitized newspapers, Preston tells the story of how these and other women influenced the activities of some of the more than one hundred opera companies touring the United States during the second half of the 19th century, performing opera in English for a diverse range of audiences. Countering a pervasive and misguided historical understanding of opera reception in the United States-unduly influenced by modern attitudes about the genre as elite, exclusive, expensive, and of interest only to a niche market-Opera for the People demonstrates the important (and hitherto unsuspected) place of opera in the rich cornucopia of late-century American musical theatre, which would eventually lead to the emergence of American musical comedy.
Opera is the only guide to the research writings on all aspects of opera. This second edition presents 2,833 titles--over 2,000 more than the first edition--of books, parts of books, articles and dissertations with full bibliographic descriptions and critical annotations. Users will find the core literature on the operas of 320 individual composers and details of operatic life in 43 countries. All relevant works through to November 1999 have been considered, covering more than fifteen years of literature since the first edition was published.
"[This book is] a comprehensive illustrated history of the U.S. musical from its colonial origins to the present, tracing the connections and influences of the minstrel show, operetta, burlesque, melodrama, revues, circus, dance, musical comedy, the Broadway opera, the book musical and other forms. . . . Further, Mates introduces readers to inside stuff--the various types of musical performers." Variety Mates shows the musical stage in all its guises--from burlesque to musical comedy to grand opera--from its beginnings in pre-Revolutionary America to the present day. He deals sensitively with the recurrent aesthetic question of popular versus highbrow art and also looks at critical reactions to popular theatrical forms of musical entertainment. He introduces the reader to various types of theatrical companies, the changing repertory, and the many kinds of musical performers who have animated the stage. Mates focuses on the creative relationships between the different forms of opera, the minstrel show and circus, melodrama and dance, burlesque, revue, vaudeville, and musical comedy.
"For the first time, readers are given insights into Hart's somewhat lonely and tragic personal life, his quarrels with exploitive studios, and his association with such latter-day frontier legends as Charles M. Russell, Bat Masterson, and Wyatt Earp, who regarded him as a kindred spirit.
It is also the story of Albert and Uranus Crosby, who migrated from Cape Cod to Chicago where, as successful entrepreneurs, they made their fortunes and later sacrificed it all in their efforts to bring a new musical and artistic enlightenment to their adpoted city.
Music and History by Jeffrey H. Jackson,Stanley C. Pelkey Pdf
This book begins with a simple question: Why haven't historians and musicologists been talking to one another? Historians frequently look to all aspects of human activity, including music, in order to better understand the past. Musicologists inquire into the social, cultural, and historical contexts of musical works and musical practices to develop theories about the meanings of compositions and the significance of musical creation. Both disciplines examine how people represent their experiences. This collection of original essays, the first of its kind, argues that the conversation between scholars in the two fields can become richer and more mutually informing. The volume features an eloquent personal essay by historian Lawrence W. Levine, whose work has inspired a whole generation of scholars working on African American music in American history. The first six essays address widely different aspects of musical culture and history ranging from women and popular song during the French Revolution to nineteenth-century music publishing in Philadelphia, Pennsylvania. Two additional essays by scholars outside of musicology and history represent a new kind of disciplinary bridging by using the methods of cultural studies to look at cross-dressing in nineteenth- and early twentieth-century opera and blues responses to lynching in the New South. The last four essays offer models for collaborative, multidisciplinary research with a special emphasis on popular music. Jeffrey H. Jackson, Memphis, Tennessee, is assistant professor of history at Rhodes College. He is the author of Making Jazz French: Music and Modern Life in Interwar Paris. Stanley C. Pelkey, Portage, Michigan, is assistant professor of music at Western Michigan University. He is a member of the College Music Society, and his work has appeared in music-related periodicals.
In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are. For most of the nineteenth century, a wide variety of expressive forms—Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow—enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America—housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy—now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between “serious” and “popular,” between “high” and “low” culture came to dominate America’s expressive arts. “If there is a tragedy in this development,” Lawrence Levine comments, “it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them. Too many of those who considered themselves educated and cultured lost for a significant period—and many have still not regained—their ability to discriminate independently, to sort things out for themselves and understand that simply because a form of expressive culture was widely accessible and highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit.” In this innovative historical exploration, Levine not only traces the emergence of such familiar categories as highbrow and lowbrow at the turn of the century, but helps us to understand more clearly both the process of cultural change and the nature of culture in American society.
Author : Charlotte Bentley Publisher : University of Chicago Press Page : 265 pages File Size : 42,9 Mb Release : 2022-12-06 Category : Music ISBN : 9780226823096
New Orleans and the Creation of Transatlantic Opera by Charlotte Bentley Pdf
A history of nineteenth-century New Orleans and the people who made it a vital, if unexpected, part of an emerging operatic world. New Orleans and the Creation of Transatlantic Opera, 1819–1859 explores the thriving operatic life of New Orleans in the first half of the nineteenth century, drawing out the transatlantic connections that animated it. By focusing on a variety of individuals, their extended webs of human contacts, and the materials that they moved along with them, this book pieces together what it took to bring opera to New Orleans and the ways in which the city’s operatic life shaped contemporary perceptions of global interconnection. The early chapters explore the process of bringing opera to the stage, taking a detailed look at the management of New Orleans’s Francophone theater, the Théâtre d’Orléans, as well as the performers who came to the city and the reception they received. But opera’s significance was not confined to the theater, and later chapters of the book examine how opera permeated everyday life in New Orleans, through popular sheet music, novels, magazines and visual culture, and dancing in its many ballrooms. Just as New Orleans helped to create transatlantic opera, opera in turn helped to create the city of New Orleans.
