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|a 10.4324/9781003037293
|2 DOI
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|a (OCoLC)1396972346
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|a TF_LN_EUR_CENTR_10.4324/9781003037293
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|a 782.1094371
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|a Mabary, Judith.
|4 aut.
|e Auteur
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|a Contextualizing melodrama in the Czech lands :
|b in concert and on stage
|c Judith A. Mabary.
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|a London :
|b Routledge.
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|a London :
|b Taylor & Francis Group,
|c 2020.
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|b txt
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|a Ashgate interdisciplinary studies in opera
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|a Accès en ligne pour les établissements français bénéficiaires des licences nationales
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|a Accès soumis à abonnement pour tout autre établissement
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|a The mention of the term "melodrama" is likely to evoke a response from laymen and musicians alike that betrays an acquaintance only with the popular form of the genre and its greatly heightened drama, exaggerated often to the point of the ridiculous. Few are aware that there exists a type of melodrama that contains in its smaller forms the beauty of the sung ballad and, in the larger-scale works, the appeal of the spoken play. This category of melodrama is one that surfaced in many cultures but was perhaps never so enthusiastically cultivated as in the Czech lands. The melodrama varied greatly at the hands of its Czech advocates. While the works of Zdenk Fibich and his contemporary Josef Bohuslav Foerster, a composer best known for his songs, remained closely bound to the text, those of conductor/composer Otakar Ostril reveal a stance that privileged the music and, given their creator's orchestral experience, are more reminiscent of the symphonic poem. Fibich in his staged works and Josef Suk (composer/violinist and Dvok's son-in-law), in his incidental music reflect variously late nineteenth-century Romanticism, the influence of Wagner, and early manifestations of Impressionism. In its more recent guise, the principles of the staged melodrama reside quite comfortably in the film score. Judith A. Mabary's important volume will be of interest not only to musicologists, but those working in Central and East European studies, voice studies, European theatre, and those studying music and nationalism.
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|a Conditions particulières de réutilisation pour les bénéficiaires des licences nationales
|c https://www.licencesnationales.fr/wp-content/uploads/2023/03/Taylor_Francis_Collex_Europe-Centrale-orientale-et-balkanique_CCTP.pdf
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|a <P>1. The Musical Melodrama: Rationality Overruled; 2. The Path to Benda's Melodramas: From the Jesuit <EM>Schuldrama</EM> through Rousseau's Experiment in <EM>Pygmalion</EM>; 3. A Place in the Theatre: The Impact of Jiří Benda and the Seyler Company on Melodrama; 4. The Sacred and the Profane: Melodrama in Prague; 5. From Paris and the Boulevard du Crime to Prague's Estates Theatre: Tracing the Popular Melodrama; 6. Zdeněk Fibich and the Revitalization of the Classical Melodrama; 7. Fibich's Concert Melodramas: A Closer Look; 8. Fibich's <EM>Hippodamie</EM>: Melodrama for the Dramatic Stage; 9. Epilogue</P>
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|a Opera
|z Czech Republic.
|2 lc
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| 650 |
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|a Melodrama.
|2 lc
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| 650 |
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|a MUSIC / Genres & Styles / Opera.
|2 bisacsh
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| 650 |
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|a MUSIC / History & Criticism.
|2 bisacsh
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|t Ashgate interdisciplinary studies in opera
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|a Ashgate interdisciplinary studies in opera
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|u https://doi-org.srvext.uco.fr/10.4324/9781003037293
|z Accès à l'E-book
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