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Eastman Studies in Music Ser.: Building the Operatic Museum : Eighteenth-Century Opera in Fin-De-Siècle Paris by William Gibbons (2013, Hardcover)

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William Gibbons is Associate Professor of Musicology at Texas Christian University.

About this product

Product Identifiers

PublisherUniversity of Rochester Medical Press

ISBN-101580464009

ISBN-139781580464000

eBay Product ID (ePID)143838679

Product Key Features

Number of Pages280 Pages

Publication NameBuilding the Operatic Museum : Eighteenth-Century Opera in Fin-De-Siècle Paris

LanguageEnglish

SubjectHistory & Criticism, Genres & Styles / Classical, Genres & Styles / Opera

Publication Year2013

TypeTextbook

Subject AreaMusic

AuthorWilliam Gibbons

SeriesEastman Studies in Music Ser.

FormatHardcover

Dimensions

Item Height1.1 in

Item Weight21.4 Oz

Item Length9.2 in

Item Width6.4 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2013-006028

Dewey Edition23

ReviewsWhat makes the book particularly worthwhile is its careful contextualization of the major fin-de-si cle revivals of eighteenth-century operas including abundant selections from critical discourse. . . . One of the merits of Gibbons' book is the way it enables us to see how these dilemmas [of historical fidelity vs. practical viability, and of Germanic traditions vs. French national pride] were understood, and hotly debated, throughout the period in question, paving the way for a conception of the repertoire that is still very much with us. The book's most engrossing section is probably the one devoted to Mozart, for the [Austrian] composer's place within the French operatic pantheon would always entail the most complex negotiations., Gibbons synthesizes much recent literature on such topics as French musical nationalism and the reception of early music in the nineteenth century, and analyzes these cultural trends in a manner that is [extensively] documented, rich in insight, clear, and highly readable. The book is a model of skillful argument and of expertise in organizing a subject that could easily overflow; a lesson in history and historiography that succeeds in offering a convincing central thesis (the establishment of an Operatic Museum) without denying the manysidedness of historical reality. IL SAGGIATORE MUSICAL What makes the book particularly worthwhile is its careful contextualization of the major fin-de-siècle revivals of eighteenth-century operas including abundant selections from critical discourse. . . . One of the merits of Gibbons' book is the way it enables us to see how these dilemmas [of historical fidelity vs. practical viability, and of Germanic traditions vs. French national pride] were understood, and hotly debated, throughout the period in question, paving the way for a conception of the repertoire that is still very much with us. The book's most engrossing section is probably the one devoted to Mozart, for the [Austrian] composer's place within the French operatic pantheon would always entail the most complex negotiations. NINETEENTH-CENTURY MUSIC REVIEW Gibbons's well-written study of the productions of eighteenth-century operas in late nineteenth-century Paris considers broad issues of edition-making, nationalist interpretation, allegorical readings, and value judgment. An important addition to critical reflections on canon building. --Steven Huebner, McGill University

Series Volume Number99

IllustratedYes

Volume NumberVol. 99

Dewey Decimal782.1094436109034

Original LanguageEnglish

Table Of ContentIntroductionMuseumsRestorations(De)TranslationsTransitionsResurrectionsTragediesSymbolsMonumentsQuarrelsArchaeologiesNotesBibliographyIndex

SynopsisFocusing on the operas of Mozart, Gluck, and Rameau, Building the Operatic Museum examines the role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, mostly neglected during the nineteenth century, became the main exhibits in what William Gibbons calls the Operatic Museum -- a physical and conceptual space in which great masterworks from the past and present could, like works of visual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, Gibbons explores how this "museum" transformed Parisian musical theater into a place of cultural memory, dedicated to the display of French musical greatness. William Gibbons is Associate Professor of Musicology at Texas Christian University., The pathbreaking revival in Paris ca. 1900 of long-neglected operas by Mozart, Gluck, and Rameau -- and what this meant to French audiences, critics, and composers. Focusing on the operas of Mozart, Gluck, and Rameau, Building the Operatic Museum examines the role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, mostly neglected during the nineteenth century, became the main exhibits in what William Gibbons calls the Operatic Museum -- a physical and conceptual space in which great masterworks from the past and present could, like works ofvisual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, Gibbons explores how this "museum" transformed Parisian musical theater into a place of cultural memory, dedicated to the display of French musical greatness. William Gibbons is Associate Professor of Musicology at Texas Christian University., The pathbreaking revival in Paris ca. 1900 of long-neglected operas by Mozart, Gluck, and Rameau -- and what this meant to French audiences, critics, and composers.

LC Classification NumberML1727.8.P2