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005			20251020153839.0
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008			251020s2020 xx o ||||0 eng d
020			_a9780190224219 _q(electronic bk.)
020			_z9780190224202
040			_aMiAaPQ _beng _cMiAaPQ
100	1		_aNewark, Cormac. _967367
245	1	4	_aThe Oxford Handbook of the Operatic Canon.
250			_a1st ed.
264		1	_aNew York : _bOxford University Press, Incorporated, _c2020.
264		4	_c©2020.
300			_a1 online resource (639 pages)
336			_aText _btxt _2rdacontent
337			_aComputermedien _bc _2rdamedia
338			_aOnline Resource _bcr _2rdacarrier
490	1		_aOxford Handbooks Series
500			_aE-Book-ProQuest / Fernzugriff nach Registrierung möglich
505	0		_aCover -- 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		_aRenewing 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		_aIntroduction 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		_aIntroduction 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		_aEurope 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			_aThe 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			_aMusical canon.
653			_aOpera-Handbooks, manuals, etc.
655			_aFernzugriff _9230
655		4	_aElectronic books.
700	1		_aWeber, William. _967368
776	0	8	_iPrint version: _aNewark, Cormac _tThe Oxford Handbook of the Operatic Canon _dNew York : Oxford University Press, Incorporated,c2020 _z9780190224202
830		0	_aOxford Handbooks Series _924991
856	4	0	_uhttps://ebookcentral.proquest.com/lib/maxweberstiftung-ebooks/detail.action?docID=6426788 _zVolltext
942			_cEB
999			_c73049 _d73049