MARC-Details
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09416nam a22004693i 4500 |
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EBC6426788 |
| 003 - Kontrollnummer Identifier |
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| Kontrollfeld |
MiAaPQ |
| 005 - Datum und Zeit der letzten Transaktion |
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| Kontrollfeld |
20251020153839.0 |
| 007 - Feld mit fester Länge zur physischen Beschreibung - Allgemeine Information |
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| Kontrollfeld mit fester Länge |
cr cnu|||||||| |
| 008 - Feld mit fester Länge zur physischen Beschreibung - Allgemeine Angaben |
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| Kontrollfeld mit fester Länge |
251020s2020 xx o ||||0 eng d |
| 020 ## - Internationale Standardbuchnummer |
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| Internationale Standardbuchnummer |
9780190224219 |
| Nähere Angaben |
(electronic bk.) |
| 020 ## - Internationale Standardbuchnummer |
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| Gelöschte/ungültige ISBN |
9780190224202 |
| 040 ## - Katalogisierungsquelle |
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| Original-Katalogisierungsstelle |
MiAaPQ |
| Katalogisierungssprache |
eng |
| Übertragungsstelle |
MiAaPQ |
| 100 1# - Haupteintragung - Personenname |
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| Personenname |
Newark, Cormac. |
| Koha-Normdatenidentnummer |
67367 |
| 245 14 - Titel |
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| Titel |
The Oxford Handbook of the Operatic Canon. |
| 250 ## - Ausgabebezeichnung |
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| Ausgabebezeichnung |
1st ed. |
| 264 #1 - Produktion, Veröffentlichung, Distribution, Herstellung und Urheberrechtsvermerk |
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| Herstellungs-, Veröffentlichungs- Vertriebs-, Erzeugungsort |
New York : |
| Produzent, Herausgeber, Distributor, Hersteller |
Oxford University Press, Incorporated, |
| Datum der Herstellung, der Veröffentlichung, des Vertriebs oder des Urheberschutzvermerks |
2020. |
| 264 #4 - Produktion, Veröffentlichung, Distribution, Herstellung und Urheberrechtsvermerk |
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| Datum der Herstellung, der Veröffentlichung, des Vertriebs oder des Urheberschutzvermerks |
©2020. |
| 300 ## - Physische Beschreibung |
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| Umfang |
1 online resource (639 pages) |
| 336 ## - Inhaltstyp |
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| Inhaltstypterm |
Text |
| Inhaltstypcode |
txt |
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rdacontent |
| 337 ## - Medientyp |
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| Bezeichnung des Medientyps |
Computermedien |
| Medientypcode |
c |
| Quelle |
rdamedia |
| 338 ## - Datenträgertyp |
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| Datenträgertypbezeichnung |
Online Resource |
| Datenträgertypcode |
cr |
| Quelle |
rdacarrier |
| 490 1# - Gesamttitelangabe |
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| Gesamttitelangabe |
Oxford Handbooks Series |
| 500 ## - Allgemeine Fußnote |
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| Allgemeine Fußnote |
E-Book-ProQuest / Fernzugriff nach Registrierung möglich |
| 505 0# - Fußnote zu strukturierten Inhaltsangaben |
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| Fußnote zu strukturierten Inhaltsangaben |
Cover -- The Oxford Handbook of The Operatic Canon -- Copyright -- Contents -- List of Contributors -- Acknowledgments -- About the companion website -- Note to the reader -- General introduction: Idiosyncrasies of the operatic canon -- Terminology -- Different historical and geographical conceptions of the operatic canon -- Performing canons versus critical canons -- Novelty versus familiarity -- Quantitative measures of canonic status -- Notes -- Part I: History, Geography -- Introduction to Chapters 1 and 2: Foundations: France and Italy in the eighteenth century -- Chapter 1: The practical and symbolic functions of pre-Rameau opera at the Paris Opéra before Gluck -- Lully and his "imitators": Canonization and early attacks on it -- From mild disaffection to open disrespect -- A new life for old opera -- The elusive image of old opera -- Notes -- Chapter 2: Italian opera and the concept of "canon" in the late eighteenth century -- Literati and a literary canon for Italian opera -- Literati on music and musicians: Classicism versus fashion -- Canon(s) in the operatic market, 1751-1760 -- Canon(s) of the operatic market, 1781-1790 -- Toward a renegotiation of the operatic star-system: The composer's new starring role -- Notes -- Chapters 1 and 2: Further reading -- Introduction to chapters 3 and 4: From royal authority to public taste in Berlin, 1740-1815 -- Chapter 3: The repertory of the Italian Court Opera in Berlin, 1740-1786 -- Early history of Berlin opera -- Periods in the emergence of the Berlin canon, 1740-1786 -- The conditions that created the Italian Court Opera, 1740-1756 -- The revival of old operas, 1763-1786 -- The new era at the Opernhaus and the Nationaltheater, 1786-1796 -- Conclusion -- Notes -- Chapter 4: Catching up and getting ahead: The opera house as temple of art in Berlin c. 1800 -- Facing the past. |
| 505 8# - Fußnote zu strukturierten Inhaltsangaben |
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| Fußnote zu strukturierten Inhaltsangaben |
Renewing the canon -- Canonic infrastructures -- Notes -- Chapters 3 and 4: Further reading -- Introduction to chapters 5 and 6: Operatic practices at the London Opera: Pasticcio to repertory to canon? -- Chapter 5: From recycled performances to repertory: The King's Theatre in London, 1705-1820 -- Notes -- Chapter 6: Repertory opera and canonic sensibility:The London Opera, 1820-1860 -- Toward repertory opera -- Toward a canonic sensibility -- Notes -- Chapters 5 and 6: Further reading -- Introduction to chapters 7 and 8: From capital-city opera house to provincial theaters in France -- Chapter 7: The evolution of French opera repertories in provincial theaters: Three epochs, 1770-1900 -- Choice of methodological focus: Premieres or repertories? -- The system of producing works -- 1770-1830: The triumph of opéra comique -- From Napoleon's decrees to the period 1830-1860 -- After 1864: Continuity and expansion of repertory -- Conclusion -- Notes -- Chapter 8: The mingling of opera genres: Canonic opera at the Théâtre des Arts in Rouen, 1882-1897 -- The constraints of the theatrical system -- The origins of the Rouen repertory -- Attention to local traditions -- Notes -- Chapters 7 and 8: Further reading -- Introduction to chapters 9 and 10: The Italian opera world and its canons -- Chapter 9: Theaters, markets, and canonic implications in the Italian opera system, 1820-1880 -- Novelty in demand -- The changing trajectories of supply -- New media, new music-publishing practices -- Preludes to a canon? -- Notes -- Chapter 10: Operatic canons and repertories in Italy c. 1900 -- Repertories and publishers and the five "canonic columns" -- Sonzogno's contribution -- Milan and La Scala as center of the duel -- Notes -- Chapters 9 and 10: Further reading. |
| 505 8# - Fußnote zu strukturierten Inhaltsangaben |
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| Fußnote zu strukturierten Inhaltsangaben |
Introduction to chapters 11 and 12: Opera in the western hemisphere, 1811-1910: New York, Buenos Aires, and Montevideo -- Chapter 11: International opera in nineteenth-century New York: Core repertories and canonic values -- The early years, arrangements, and tours -- New houses, new operas -- The Metropolitan Opera and its competitors -- Canon and core repertory -- Notes -- Chapter 12: Canons of real and imagined opera: Buenos Aires and Montevideo, 1810-1860 -- Rossini in Buenos Aires -- Bellini in Montevideo -- Feast after famine -- Notes -- Chapters 11 and 12: Further reading -- Introduction to chapters 13 and 14: Tensions Between the National and the Cosmopolitan: Canons in England and Russia -- Chapter 13: The Survival of English Opera in Nineteenth-Century Concert Life -- English opera in concert programs -- Ideological division in critical commentary on English opera -- Contrasting critical points of view -- A sturdy, changing tradition -- Notes -- Chapter 14: National and international canons of opera in Tsarist Russia -- The Imperial Theaters and the critics -- The status of foreign repertories -- Canonizing a national composer -- The national canon and the international repertory -- Notes -- Chapters 13 and 14: Further reading -- Part II: Other views, other Canons -- Introduction to chapters 15 and 16: Singers and the operatic canon -- Chapter 15: Setting the standard: Singers, theater practices, and the operatic canon in nineteenth-century France -- Defining the répertoire -- Débuts, rentrées, and benefit concerts -- Taking the canon on tour -- Reviving the "classics" -- From creators to interpreters -- Notes -- Chapter 16: Redefining the standard: Pauline Viardot and Gluck's Orphée -- Pauline Viardot as Orphée -- Hearing and seeing Viardot as Orphée -- Total recall -- To canonize a singer -- Notes -- Chapters 15 and 16: Further reading. |
| 505 8# - Fußnote zu strukturierten Inhaltsangaben |
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| Fußnote zu strukturierten Inhaltsangaben |
Introduction to chapters 17 and 18: Uses of the operatic canon -- Chapter 17: Canons of the Risorgimento then and now -- Overlapping canons -- Il canone del Risorgimento -- The canon as participation -- Notes -- Chapter 18: "Blow the opera houses into the air: "Wagner, Boulez, and Modernist canons -- Notes -- Chapters 17 and 18: Further reading -- Introduction to chapters 19 and 20: Rewriting the operatic canon -- Chapter 19: Phantoms at the Opéra: Meyerbeer and de-canonization -- Matters of life and death -- Afterlife -- Numerical work -- Counting canons -- Notes -- Chapter 20: The uses and disadvantages of opera history: Unhistorical thinking in fin-de-siècle Paris -- "Untimely" music: Gluck (and) the eternal -- D'Indy's distortions -- Notes -- Chapters 19 and 20: Further reading -- Introduction to chapters 21 and 22: Contiguous genres: Operetta and American musicals -- Chapter 21: Viennese operetta canon formation and the journey to prestige -- Operetta in Vienna -- Wilhelm Karczag and the canonization of Strauss's legacy -- "Negative eternity" -- The critical canon -- Notes -- Chapter 22: Canons of theAmerican musical -- A core canon -- A plurality of canons -- Notes -- Chapters 21 and 22: Further reading -- Introduction to chapters 23 and 24: Twentieth-century reproduction technology and the operatic canon -- Chapter 23: Sound recording and the operatic canon: Three "drops of the needle" -- Notes -- Chapter 24: Opera on film and the canon -- Beginnings -- Developments on the small screen -- Opera film as cinema -- Audio versus video -- The age of the HD broadcast -- Notes -- Chapters 23 and 24: Further reading -- Introduction to chapters 25 and 26: Views of the operatic canon from the industry -- Chapter 25: Critical reflections on the operatic canon -- Popular modern pieces -- Early music revivals -- (Long-)nineteenth-century revivals. |
| 505 8# - Fußnote zu strukturierten Inhaltsangaben |
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| Fußnote zu strukturierten Inhaltsangaben |
Europe versus the United States -- Technological developments -- Chapter 26: Inside and outside the operatic canon, on stage and in the boardroom -- Chapters 25 and 26: Further listening and viewing -- Bibliography -- Index. |
| 520 ## - Fußnote zu Zusammenfassungen usw. |
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| Fußnote zur Zusammenfassung usw. |
The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence. |
| 653 ## - Indexierungsterm - Nicht normiert |
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| Nicht-normierter Term |
Musical canon. |
| 653 ## - Indexierungsterm - Nicht normiert |
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| Nicht-normierter Term |
Opera-Handbooks, manuals, etc. |
| 655 ## - Indexierungsterm - Genre/Form |
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| Genre/Form oder fokussierter Term |
Fernzugriff |
| Koha-Normdatenidentnummer |
230 |
| 655 #4 - Indexierungsterm - Genre/Form |
|---|
| Genre/Form oder fokussierter Term |
|
| 700 1# - Nebeneintragung - Personenname |
|---|
| Personenname |
Weber, William. |
| Koha-Normdatenidentnummer |
67368 |
| 776 08 - Andere physische Form |
|---|
| Verweisungsphrase |
Print version: |
| Haupteintragung |
Newark, Cormac |
| Titel |
The Oxford Handbook of the Operatic Canon |
| Ort, Verlag und Erscheinungsjahr |
New York : Oxford University Press, Incorporated,c2020 |
| Internationale Standardbuchnummer |
9780190224202 |
| 830 #0 - Nebeneintragung unter dem Gesamttitel - Einheitstitel |
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| Einheitstitel |
Oxford Handbooks Series |
| Koha-Normdatenidentnummer |
24991 |
| 856 40 - Elektronische Adresse und Zugriff |
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| URL |
<a href="https://ebookcentral.proquest.com/lib/maxweberstiftung-ebooks/detail.action?docID=6426788">https://ebookcentral.proquest.com/lib/maxweberstiftung-ebooks/detail.action?docID=6426788</a> |
| OPAC-Notiz |
Volltext |
| 942 ## - Zusätzliche Felder (Koha) |
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| Koha-Medientyp |
E-Books |