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This examine and data consultant offers a variety of scholarship at the existence, profession, and musical legacy of Miles Davis, and is compiled for an interdisciplinary viewers of students in jazz and well known tune, musicology, and cultural reviews. It serves as a very good software for librarians, researchers, and students sorting during the significant quantity of fabric within the field.

Ein Streifzug durch die Operngeschichte und das Wechselspiel zwischen textual content und Musik – so unterhaltsam wie anregend.

Nur selten in der Operngeschichte gab es glückliche Partnerschaften zwischen den Komponisten und ihren Textdichtern. So tauchen auf Verdis 27 Opernpartituren die Namen von vierzehn Librettisten auf. Der Wettstreit um den Vorrang von Ton oder Wort durchzieht die gesamte Geschichte der Oper. Im 18. Jahrhundert übte Pietro Metastasio seine uneingeschränkte Herrschaft aus – Kesting nennt ihn »den einflussreichsten Operndichter der Geschichte". Seine Textbücher wurden an die tausendmal vertont, auch noch von Mozart, der eigentlich die Auffassung vertrat, in der Oper habe die Poesie »der Musick gehorsame Tochter" zu sein, und in Lorenzo Da Ponte seinen einzigartigen Librettisten fand. Das 19. Jahrhundert brachte Textdichter wie Eugène Scribe, Felice Romani und Arrigo Boito hervor, nicht zuletzt den Sonderfall Richard Wagner, der sein eigener Textdichter warfare. Im 20. Jahrhundert stellten sich Autoren von Rang wie Hugo von Hofmannsthal, Stefan Zweig, Jean Cocteau und W. H. Auden in den Dienst der Komponisten. Bertolt Brecht, auch er ein fleißiger Textlieferant für das Musiktheater, ließ in der »Dreigroschenoper" zum Schluss den reitenden Boten des Königs erscheinen: »Damit ihr wenigstens in der Oper seht, wie einmal Gnade vor Recht ergeht."

Little is understood outdoors of Russia concerning the nation's musical history sooner than the 19th century. Western scholarship has tended to view the historical past of Russian tune as now not starting till the top of the eighteenth century. Marina Ritzarev's paintings exhibits this interpretation to be inaccurate. ranging from an exam of the wealthy legacy of Russian song as much as 1700, she explores the improvement of tune over the process the eighteenth century, a interval of particularly extreme Westernization and secularization. The ebook specializes in what's attribute and the most important to Russian song in this interval, instead of looking to offer a entire survey. The musical tradition of the time is mentioned opposed to the wealthy history of social, political and cultural existence, tying jointly a few of the phenomena that was once seen individually. The publication highlights the significance of formerly marginalized sectors - serf tradition, choral sacred tradition, the contribution of overseas musicians, the numerous impact of Freemasonry, the function of Ukrainian and West-European cultures etc - in addition to casting new mild at the well-researched subject of Russian opera. a lot new archival fabric is brought, and revised biographies of the 2 top eighteenth-century Russian composers, Maxim Berezovsky and Dmitry Bortniansky, are supplied, in addition to these of the serf composer Stepan Degtyarev and the Italian Giuseppe Sarti. The ebook locations eighteenth-century Russian song at the eu map, and should be of specific significance for the research of eu musical cultures distant from such centres as Italy, Germany-Austria and France. Eighteenth-century Russian track is organically associated with its earlier and destiny and its contributory position in forming the Russian nationwide identification and constructing the Russian idiom is clarified.