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Pastorals, Passepieds, and Pendants: Interpreting Characterization Through Aria Pairs in Handel’sRodelinda
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References

  • 1981Classic Music: Expression, Form, and Style724 cited
  • 2007The musical topic: hunt, military, and pastoral340 cited
  • 1991Music as Cultural Practice, 1800-1900230 cited
  • 1987The art of gesture: The practices and principles of 18th century acting178 cited
  • 2006The Musical Topic144 cited
  • 1983Classic Music: Expression, Form, and Style117 cited
  • 1984Rhythmic Gesture in Mozart108 cited
  • 1990Opera in Seventeenth-Century Venice84 cited
  • 1988The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics56 cited
  • 2006The Art of Domestic Life: Family Portraiture in Eighteenth-Century England52 cited
  • 1994Musical Meaning in Beethoven49 cited
  • 2004The weapons of rhetoric: a guide for musicians and audiences30 cited
  • 1998Dance and the Music of J.S. Bach23 cited
  • 2008Tonality as Drama : Closure and Interruption in Four Twentieth-Century American Operas13 cited
  • 2005Claude Lorrain's Pendant Landscapes of 1646-50 for Camillo Pamphilj, Nephew of Pope Innocent X. Classicism, Architecture, and Gardens as Contexts for the Artist's Roman Patronage3 cited

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2011
SWITCHING PLACES: SALVATOR ROSA'S PENDANTS OF "A WITCH AND A SOLDIER", AND THE PRINCIPLE OF DEXTRALITY
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