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Galileo and the ‘Invention’ of Opera by F. Kersten Pdf
Intended for scholars in the fields of philosophy, history of science and music, this book examines the legacy of the historical coincidence of the emergence of science and opera in the early modern period. But instead of regarding them as finished products or examining their genesis, or `common ground', or `parallel' ideas, opera and science are explored by a phenomenology of the formulations of consciousness (Gurwitsch) as compossible tasks to be accomplished in common (Schutz) which share an ideal possibility or `essence' (Husserl). Although the ideas of Galileo and Monteverdi form the parameters of the domain of phenomenological clarification, the scope of discussion extends from Classical ideas of science and music down to the beginning of the nineteenth century, but always with reference to the experience of sharing the sociality of a common world from which they are drawn (Plessner) and to which those ideas have given shape, meaning and even substance. At the same time, this approach provides a non-historicist alternative to understanding the arts and science of the modern period by critically clarifying the idea of whether their compossibility can rest on any other formulation of consciousness.
Curation as a concept and a catchword in modern parlance has, over recent decades, become deeply ingrained in modern culture. The purpose of this study is to explore the curatorial forces at work within the modern opera house and to examine the functionaries and processes that guide them. In turn, comparisons are made with the workings of the traditional art museum, where artworks are studied, preserved, restored, displayed and contextualised – processes which are also present in the opera house. Curatorial roles in each institution are identified and described, and the role of the celebrity art curator is compared with that of the modern stage director, who has acquired previously undreamt-of licence to interrogate operatic works, overlaying them with new concepts and levels of meaning in order to reinvent and redefine the operatic repertoire for contemporary needs. A point of coalescence between the opera house and the art museum is identified, with the transformation, towards the end of the nineteenth century, of the opera house into the operatic museum. Curatorial practices in the opera house are examined, and further communalities and synergies in the way that ‘works’ are defined in each institution are explored. This study also considers the so-called ‘birth’ of opera around the start of the seventeenth century, with reference to the near-contemporary rise of the modern art museum, outlining operatic practice and performance history over the last 400 years in order to identify the curatorial practices that have historically been employed in the maintenance and development of the repertoire. This examination of the forces of curation within the modern opera house will highlight aspects of authenticity, authorial intent, preservation, restoration and historically informed performance practice.
This book contemplates the relationship between opera and anthropology. It rests on the following central arguments: on the one hand, opera is quite a new and “exotic” topic for anthropologists, while, on the other, anthropology is still perceived as an unusual approach to opera. Both initial arguments are indicative of the current situation of the relationship between anthropological discipline and opera research. The book introduces the work of anthropologists and ethnographers whose personal and professional affinity for opera has been explicated in their academic and biographical accounts. Anthropological, ethnological, ethnographic, and semiotic accounts of opera by Claude Lévi-Strauss, Michel Leiris, William O. Beeman, Denis Laborde, Paul Atkinson, and Philippe-Joseph Salazar establish that opera can be a pertinent object of anthropological interest, ethnographic investigation, cultural analysis, and historical reflection. By touching on opera not merely as a musical, aesthetic, or artistic category, but as a social, cultural, historical, and transnational phenomenon that, over the last four centuries, has significantly influenced and reflected the identity of Western culture and society, this monograph suggests that opera and anthropology no longer need be alien to one another.
Music and Science in the Age of Galileo by V. Coelho Pdf
Music and Science in the Age of Galileo features twelve new essays by leading specialists in the fields of musicology, history of science, astronomy, philosophy, and instrument building that explore the relations between music and the scientific culture of Galileo's time. The essays take a broad historical approach towards understanding such topics as the role of music in Galileo's experiments and in the scientific revolution, the musical formation of scientists, Galileo's impact on the art and music of his time, the scientific knowledge of instrument builders, and the scientific experiments and cultural context of Galileo's father, Vincenzo Galilei. This volume opens up new areas in both musicology and the history of science, and twists together various strands of parallel work by musicians and scientists on Galileo and his time. This book will be of interest to musicologists, historians of science and those interested in interdisciplinary perspectives of the late Renaissance -- early Baroque. For its variety of approaches, it will be a valuable collection of readings for graduate students, and those seeking a more integrated approach to historical problems. The book will be of interest to historians of science, philosophers, musicologists, astronomers, and mathematicians.
Opera's Second Death by Slavoj Zizek,Mladen Dolar Pdf
Opera's Second Death is a passionate exploration of opera - the genre, its masterpieces, and the nature of death. Using a dazzling array of tools, Slavoj Zizek and coauthor Mladen Dolar explore the strange compulsions that overpower characters in Mozart and Wagner, as well as our own desires to die and to go to the opera.
The Sidereal Messenger of Galileo Galilei and a Part of the Preface to Kepler's Dioptrics Containing the Original Account of Galileo's Astronomical Discoveries by Galileo Galilei,Johannes Kepler Pdf
In 1609, Galileo, then Professor of Mathematics at Padua, in the service of the Venetian Republic, heard from a correspondent at Paris of the invention of a telescope, and set to work to consider how such an instrument could be made. The result was his invention of the telescope known by his name, and identical in principle with the modern opera-glass. In a maritime and warlike State, the advantages to be expected from such an invention were immediately recognised, and Galileo was rewarded with a confirmation of his Professorship for life, and a handsome stipend, in recognition of his invention and construction of the first telescope seen at Venice. In his pamphlet, The Sidereal Messenger, here translated, Galileo relates how he came to learn the value of the telescope for astronomical research; and how his observations were rewarded by numerous discoveries in rapid succession, and at length by that of Jupiter’s satellites. Galileo at once saw the value of this discovery as bearing upon the establishment of the Copernican system of astronomy, which had met with slight acceptance, and indeed as yet had hardly any recommendation except that of greater simplicity. Kepler had just published at Prague his work on the planet Mars (Commentaria de motibus Stellæ Martis), on which he had been engaged apparently for eight years; there he heard of Galileo’s discoveries, and at length was invited by Galileo himself, through a common friend, Giuliano de’ Medici, ambassador of the Grand-Duke of Tuscany, Cosmo de’ Medici II., to the Emperor Rudolph II., to correspond with Galileo on the subject of these discoveries. The Emperor also requested his opinion, and Kepler accordingly examined Galileo’s Sidereal Messenger in a pamphlet, entitled A Discussion with the Sidereal Messenger(Florence, 1610). In this Discussion Kepler gives reasons for accepting Galileo’s observations—although he was not able to verify them from want of a telescope—and entirely supports Galileo’s views and conclusions, adducing his own previous speculations, or pointing out, as in the case of Galileo’s idea of earth-light on the moon, the previous conception of the same explanation of the phenomenon. He rejects, however, Galileo’s explanation of the copper colour of the moon in eclipses. Kepler ends by expressing unbounded enthusiasm at the discovery of Jupiter’s satellites, and the argument it furnishes in support of the Copernican theory. Soon after, in 1611, Kepler published another pamphlet, his Narrative, giving an account of actual observations made in verification of Galileo’s discoveries by himself and several friends, whose names he gives, with a telescope made by Galileo, and belonging to Ernest, Elector and Archbishop of Cologne. Kepler and his friends saw the lunar mountains and three of the satellites of Jupiter, but failed to make out any signs of the ring of Saturn corresponding to the imperfect description of Galileo.
Essays on Galileo and the History and Philosophy of Science by Stillman Drake Pdf
This 3 volume collection includes 80 of the 130 papers published by Drake, most on Galileo but some on medieval and early modern science in general (principally mechanics). An essential supplement to Drake's translations and other books.
NPR The Curious Listener's Guide to Opera by William Berger Pdf
Major composers including Mozart, Wagner, Verdi, Puccini, and Strauss * Legendary singers from the great divas to the Three Tenors * What to look for and listen to at the opera * The history of opera and why it endures * Stylistic variations and basic theoretical underpinnings * Appreciating the art form * Biographies of the opera's greatest artists * A survey of classic operas
Striding Both Worlds illuminates European influences in the fiction of Witi Ihimaera, Aotearoa New Zealand’s foremost Māori writer, in order to question the common interpretation of Māori writing as displaying a distinctive Māori world-view and literary style. Far from being discrete endogenous units, all cultures and literatures arise out of constant interaction, engagement, and even friction. Thus, Māori culture since the 1970s has been shaped by a long history of interaction with colonial British, Pakeha, and other postcolonial and indigenous cultures. Māori sovereignty and renaissance movements have harnessed the structures of European modernity, nation-building, and, more recently, Western global capitalism, transculturation, and diaspora – contexts which contest New Zealand bicultural identity, encouraging Māori to express their difference and self-sufficiency. Ihimaera’s fiction has been largely viewed as embodying the specific values of Māori renaissance and biculturalism. However, Ihimaera, in his techniques, modes, and themes, is indebted to a wider range of literary influences than national literary critique accounts for. In taking an international literary perspective, this book draws critical attention to little-known or disregarded aspects such as Ihimaera’s love of opera, the extravagance of his baroque lyricism, his exploration of fantasy, and his increasing interest in taking Māori into the global arena. In revealing a broad range of cultural and aesthetic influences and inter-references commonly seen as irrelevant to contemporary Māori literature, Striding Both Worlds argues for a hitherto frequently overlooked and undervalued depth and complexity to Ihimaera’s imaginary. The present study argues that an emphasis on difference tends to lose sight of fiction’s capacity to appreciate originality and individuality in the polyphony of its very form and function. In effect, literary negotiation of Māori sovereign space takes place in its forms rather than in its content: the uniqueness of Māori literature is found in the way it uses the common tools of literary fiction, including language, imagery, the text’s relationship to reality, and the function of characterization. By interpeting aspects of Ihimaera’s oeuvre for what they share with other literatures in English, Striding Both Worlds aims to present an additional, complementary approach to Māori, New Zealand, and postcolonial literary analysis.
