Title: “Deeds of Music” in Bourgeois Opera (What the Listener Sees…)
Abstract:Abstract The internalized visualization of symphonic music was validated by “New German School” programmaticism. Wagner’s mature music-dramas, with their symphonic “underscores,” were even theorized b...Abstract The internalized visualization of symphonic music was validated by “New German School” programmaticism. Wagner’s mature music-dramas, with their symphonic “underscores,” were even theorized by him as “deeds of music made visible.” By locating dramatic agency in his concealed orchestra, Wagner problematized in advance his later disparagement by critics for whom the cinema downgraded music to the role of redundant accompaniment. Recent work on music in popular melodrama further complicates our understanding of critical battles fought over music and meaning in mass-entertainment theatre, where its melodramatic use seems initially to have served to repress socially disruptive “meaning.” Implications for film music-study of discoveries about melodramatic music are traced here with reference to a 1989 film realization of Delius’s opera A Village Romeo and Juliet (1901), whose last orchestral interlude (“The Walk to the Paradise Garden”) is turned there into a fully realized, “silent” cinematic narrative.Read More
Publication Year: 2021
Publication Date: 2021-03-10
Language: en
Type: book-chapter
Indexed In: ['crossref']
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