Books and Journals
SKU: UT.APS-10
Edited by Giuseppe
Montemagno and Michela
Niccolai. Paperback (Soft
Cover). Ad Parnassum
Studies. Classical. Books
and Journals. Ut Orpheus
#APS 10. Published by Ut
Orpheus (UT.APS-10).
ISBN 9788881095056.
6.5 x 9.5
inches.
Essays
by Marie-Helene
Benoit-Otis,
Jean-Christophe Branger,
Michel Duchesneau,
Stephan Etcharry, Sarah
Gutsche-Miller, Jacinthe
Harbec, Karen Henson,
Mara Lacche, Ralph P.
Locke, Anne Monjaret,
Michela Niccolai, Luca
Levi Sala
The
crisis of dramaturgical
systems in the age of
European modernism,
between the end of the
nineteenth century and
the First World War,
provoked the creation of
a range of original
artistic solutions until
the 1930s which broke
apart traditional musical
genres. The quest for new
forms of expression thus
becomes a defining
feature in modernist art.
Composers, riding the
wave of momentum built
first in literature and
the fine arts, blurred
the boundaries between
high and low styles, and
it is in this
co-existence,
inherent to the new
forms, that musical
production found new
life. Theatre studies
have pinpointed this
desire for artistic
experimentation with
Paris at its centre, the
city of light,
that cultural meeting
ground and formidable
catalyst of artistic
trends. The visual
spectacle produced during
the forty years
(approximately 1890-1930)
covered in this volume
has therefore been
analysed in a number of
different ways, deriving
from the vast panorama of
cultural history,
interrogating theatrical
materials not only from
the standpoint of the
<>, but also
by investigating the
links between high and
low, mediatised culture.
Musicological research
applied to high art
genres (song, opera, all
genres of instrumental
music) does not yet seem
to have taken these
hybrid spectacles which
modify forms and genres
in search of new musical
and dramatic solutions
into consideration,
except in a few rare
cases. On the other hand,
new impetus has been
given by a renewed
interest in popular
chanson and ballet. In
this current volume, we
have chosen to
interrogate the
spectacular element, that
is to say the
performance, as 'a
text', equal in status to
the music and the
literary text. Therefore,
the different subject
areas proposed in the
following chapters reveal
a lesser importance of
the subject material set
to music by composers but
a greater willingness, at
the centre of this
aesthetic renewal, to try
out new musical forms or
to adapt traditional
structures to new
dramatic ends.
Hybrid Studies
