Isbn: 9780253217899 - voicing gender: castrati, travesti, and the second woman in early-nineteenth-century italian opera (musical meaning and interpretation) (29 Ergebnisse)

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Paperback. Zustand: New. The early 19th century was a period of acute transition in operatic tradition and style, when time-honored practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine-and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi André skillfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles.…

Paperback or Softback. Zustand: New. Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera. Book.

Paperback. Zustand: new. Paperback. The early 19th century was a period of acute transition in operatic tradition and style, when time-honoured practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine--and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi Andre skilfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles. Naomi Andre is Associate Professor at the University of Michigan.Trained as a musicologist, her research focuses on nineteenth-century opera and issues surrounding women, gender and voice.Working within feminist theory, she has examined voice as a sounding phenomena and as a conceptual construct. Her publications include topics on Italian opera, Schoenberg and women composers. Current research interests extend to constructions of race, ethnicity, and identity in opera. The early 19th century was a period of acute transition in operatic tradition and style, when time-honoured practices gave way to the developing aesthetics of Romanticism, and the heroic, the masculine, and the feminine were profoundly reconfigured. This book traces the development of female characters in these first decades of the century. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

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Paperback. Zustand: Brand New. illustrated edition. 230 pages. 9.00x6.25x0.75 inches. In Stock.

Zustand: New. pp. 248.

Zustand: New. The early 19th century was a period of acute transition in operatic tradition and style, when time-honoured practices gave way to the developing aesthetics of Romanticism, and the heroic, the masculine, and the feminine were profoundly reconfigured. This book traces the development of female characters in these first decades of the century. Series: Musical Meaning & Interpretation. Num Pages: 248 pages, 18 b&w photos, 1 bibliog., 1 index. BIC Classification: AVA; JFSJ1. Category: (P) Professional & Vocational. Dimension: 234 x 156 x 16. Weight in Grams: 404. . 2006. Paperback. . . . .…

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Zustand: New. pp. 248 Index.

Zustand: New. The early 19th century was a period of acute transition in operatic tradition and style, when time-honoured practices gave way to the developing aesthetics of Romanticism, and the heroic, the masculine, and the feminine were profoundly reconfigured. This book traces the development of female characters in these first decades of the century. Series: Musical Meaning & Interpretation. Num Pages: 248 pages, 18 b&w photos, 1 bibliog., 1 index. BIC Classification: AVA; JFSJ1. Category: (P) Professional & Vocational. Dimension: 234 x 156 x 16. Weight in Grams: 404. . 2006. Paperback. . . . . Books ship from the US and Ireland.…

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Paperback. Zustand: Brand New. illustrated edition. 230 pages. 9.00x6.25x0.75 inches. In Stock.

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paperback. Zustand: New. In shrink wrap. Looks like an interesting title.

Zustand: New. The early 19th century was a period of acute transition in operatic tradition and style, when time-honoured practices gave way to the developing aesthetics of Romanticism, and the heroic, the masculine, and the feminine were profoundly reconfigured. This bo.

Paperback. Zustand: new. Paperback. The early 19th century was a period of acute transition in operatic tradition and style, when time-honoured practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine--and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi Andre skilfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles. Naomi Andre is Associate Professor at the University of Michigan.Trained as a musicologist, her research focuses on nineteenth-century opera and issues surrounding women, gender and voice.Working within feminist theory, she has examined voice as a sounding phenomena and as a conceptual construct. Her publications include topics on Italian opera, Schoenberg and women composers. Current research interests extend to constructions of race, ethnicity, and identity in opera. The early 19th century was a period of acute transition in operatic tradition and style, when time-honoured practices gave way to the developing aesthetics of Romanticism, and the heroic, the masculine, and the feminine were profoundly reconfigured. This book traces the development of female characters in these first decades of the century. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Taschenbuch. Zustand: Neu. Voicing Gender | Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera | Naomi Adele Andre | Taschenbuch | Indiana University Press (IPS) | Einband - flex.(Paperback) | Englisch | 2006 | Indiana University Press | EAN 9780253217899 | Verantwortliche Person für die EU: Mare Nostrum Group B.V., Doelen 72, 4831 GR BREDA, NIEDERLANDE, gpsr[at]mare-nostrum[dot]co[dot]uk | Anbieter: preigu.…

Paperback. Zustand: New. The early 19th century was a period of acute transition in operatic tradition and style, when time-honored practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine-and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi André skillfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles.…

Taschenbuch. Zustand: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -The early 19th century was a period of acute transition in operatic tradition and style, when time-honored practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine-and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi André skillfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles. 248 pp. Englisch.…

Zustand: New. PRINT ON DEMAND pp. 248 Acknowledgements.

Taschenbuch. Zustand: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - The early 19th century was a period of acute transition in operatic tradition and style, when time-honored practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine-and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi André skillfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles.…