Opera in Seventeenth-Century Venice

Opera in Seventeenth-Century Venice Ellen Rosand Shows How Opera, Born Of Courtly Entertainment, Took Root In The Special Social And Economic Environment Of Seventeenth Century Venice And There Developed The Stylistic And Aesthetic Characteristics We Recognize As Opera Today With Ninety One Music Examples, Most Of Them Complete Pieces Nowhere Else In Print, And Enlivened By Twenty Eight Illustrations, This Landmark Study Will Be Essential For All Students Of Opera, Amateur And Professional, And For Students Of European Cultural History In General.Because Opera Was New In The Seventeenth Century, The Composers Most Notably Monteverdi And Cavalli , Librettists, Impresarios, Singers, And Designers Were Especially Aware Of Dealing With Aesthetic Issues As They Worked Rosand Examines Critically For The First Time The Voluminous Literary And Musical Documentation Left By The Venetian Makers Of Opera She Determines How These Pioneers Viewed Their Art And Explains The Mechanics Of The Proliferation Of Opera, Within Only Four Decades, To Stages Across Europe Rosand Isolates Two Features Of Particular Importance To This Proliferation The Emergence Of Conventions Musical, Dramatic, Practical That Facilitated Replication And The Acute Self Consciousness Of The Creators Who, In Their Scores, Librettos, Letters, And Other Documents, Have Left Us A Running Commentary On The Origins Of A Genre.

Is a well-known author, some of his books are a fascination for readers like in the Opera in Seventeenth-Century Venice book, this is one of the most wanted Ellen Rosand author readers around the world.

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  • Paperback
  • 710 pages
  • Opera in Seventeenth-Century Venice
  • Ellen Rosand
  • English
  • 23 October 2018
  • 0520254260

10 thoughts on “Opera in Seventeenth-Century Venice

  1. says:

    This was one of the most enjoyable books I ever had to read while studying Musicology I was supposed to only skim the book in order to write a summary, but I ended up so engaged with the writing and the rich content that I r...

  2. says:

    Ellen Rosand does good ole fashioned musicology she s primarily concerned with questions of compositional techniques, formal conventions, style change over time, taxonomies of genre, etc etc These are not sexy or exciting questions for many younger musicologists, but facility with that old school formal analysis is still invaluable in developing new readings of The Great Baggage, and that s what makes this book important It s an exhaustive and sometimes exhausting I m looking at you, cata Ellen Rosand does good ole fashioned musicology she s primarily concerned with questions of compositional techniques, formal conventions, style change over time, taxonomies of genre, etc etc These are not sexy or exciting questions for many younger musicologists, but facility with that old school formal analysis is still invaluable in developing new readings of The Great Baggage, and that s what makes this book important It s an exhaustive and sometimes exhausting I m looking at you, catalogue of aria forms account of opera in its first century, when the public theaters of Venice took the handful of recitative heavy, experimental favole from Florence and Mantua and spun them into the theatrical form...

  3. says:

    This book is a extremely interesting and detailed look at the development of opera in Venice during the early Baroque era Rosand looks at everything from the philosophical ruminations on genre of the early scholarly librettists to the different types of arias and other musical forms that developed and became standard feature...

  4. says:

    Don t worry, it s actually only about 400 pages, the last 300 are appendices and musical examples

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