Music's voices -- What the sorcerer said -- Cherubino uncovered : reflexivity in operatic narration -- Mahler's deafness : opera and the scene of narration in Todtenfeier -- Wotan's monologue and the morality of musical narration -- Brunnhilde walks by night
Summary
Who "speaks" to us in The Sorcerer's Apprentice, in Wagner's operas, in a Mahler symphony? In asking this question, Carolyn Abbate opens nineteenth-century operas and instrumental works to new interpretations as she explores the voices projected by music. The nineteenth-century metaphor of music that "sings" is thus reanimated in a new context, and Abbate proposes interpretive strategies that "de-center" music criticism, that seek the polyphony and dialogism of music, and that celebrate musical gestures often marginalized by conventional music analysis
Bibliography
Includes bibliographical references (pages 275-282) and index
Notes
In English
Print version record and on online resource; title from PDF title page (ProQuest, viewed December 6, 2015)
