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German song onstage : lieder performance in the nineteenth and early twentieth centuries
German song onstage : lieder performance in the nineteenth and early twentieth centuries
상세정보
- 자료유형
- 전자책(국외)
- 미국국회도서관 청구기호
- ML1400-.G47 2020
- 표제와 책임표시사항
- German song onstage : lieder performance in the nineteenth and early twentieth centuries / edited by Natasha Loges and Laura Tunbridge.
- 발행, 배포, 간사 사항
- 형태사항
- 1 online resource (vii, 292 pages) : illustrations
- 서지 등 주기
- Includes bibliographical references and index.
- 요약 등 주기
- 요약"A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A program consisting entirely of songs by one or two composers. This is the way of the Lieder recital these days. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. For much of the 19th century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home, salon, and, no less significantly, on the concert platform alongside orchestral and choral works. A dedicated program was rare, a dedicated audience even more so. The Lied was a genre with both more private and more public associations than is commonly recalled. The contributors to this volume explore a broad range of venues, singers, and audiences in distinct places and time periods-including the United States, the United Kingdom, Russia, and Germany-from the mid-19th century through the early 20th century. These historical case studies are set alongside reflections from a selection of today's leading musicians, offering insights on current Lied practices that will inform future generations of performers, scholars, and connoisseurs. Together these case studies unsettle narrow and elitist assumptions about what it meant and still means to present German song onstage by providing a transnational picture of historical Lieder performance, and opening up discussions about the relationship between history and performance today"--해제Provided by publisher.
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 부출표목-개인명
- 부출표목-개인명
- 기타형태저록
- Print version German song onstage
- 전자적 위치 및 접속
- 링크정보보기
MARC
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■020 ▼a0253047021▼q(electronic bk.)
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■049 ▼aMAIN
■05004▼aML1400▼b.G47 2020
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■24500▼aGerman song onstage :▼blieder performance in the nineteenth and early twentieth centuries /▼cedited by Natasha Loges and Laura Tunbridge.
■260 ▼aBloomington, Indiana▼bIndiana University Press▼c[2020]
■300 ▼a1 online resource (vii, 292 pages) ▼billustrations
■336 ▼atext▼btxt▼2rdacontent
■337 ▼acomputer▼bc▼2rdamedia
■338 ▼aonline resource▼bcr▼2rdacarrier
■504 ▼aIncludes bibliographical references and index.
■520 ▼a"A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A program consisting entirely of songs by one or two composers. This is the way of the Lieder recital these days. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. For much of the 19th century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home, salon, and, no less significantly, on the concert platform alongside orchestral and choral works. A dedicated program was rare, a dedicated audience even more so. The Lied was a genre with both more private and more public associations than is commonly recalled. The contributors to this volume explore a broad range of venues, singers, and audiences in distinct places and time periods-including the United States, the United Kingdom, Russia, and Germany-from the mid-19th century through the early 20th century. These historical case studies are set alongside reflections from a selection of today's leading musicians, offering insights on current Lied practices that will inform future generations of performers, scholars, and connoisseurs. Together these case studies unsettle narrow and elitist assumptions about what it meant and still means to present German song onstage by providing a transnational picture of historical Lieder performance, and opening up discussions about the relationship between history and performance today"--▼cProvided by publisher.
■588 ▼aDescription based on online resource; title from digital title page (viewed on May 13, 2020).
■590 ▼aOCLC control number change
■648 7▼a1800-1999▼2fast
■650 0▼aSongs, German▼y19th century▼xHistory and criticism.
■650 0▼aSongs, German▼y20th century▼xHistory and criticism.
■650 0▼aSongs, German▼xPerformances.
■650 7▼aMUSIC / History & Criticism▼2bisacsh
■650 7▼aSongs, German.▼2fast▼0(OCoLC)fst01126343
■655 4▼aElectronic books.
■655 7▼aCriticism, interpretation, etc.▼2fast▼0(OCoLC)fst01411635
■7001 ▼aLoges, Natasha▼eeditor.
■7001 ▼aTunbridge, Laura▼d1974-▼eeditor.
■77608▼iPrint version▼tGerman song onstage▼dBloomington : Indiana University Press, 2020.▼z9780253047007▼w(DLC) 2019053391
■85640▼3EBSCOhost▼uhttp://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2434600
■938 ▼aYBP Library Services▼bYANK▼n301212469
■938 ▼aRecorded Books, LLC▼bRECE▼nrbeEB00777447
■938 ▼aProQuest Ebook Central▼bEBLB▼nEBL6168046
■938 ▼aYBP Library Services▼bYANK▼n16726328
■938 ▼aEBSCOhost▼bEBSC▼n2434600
■994 ▼a92▼bN$T
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