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The Operatic Canon
12 references·3 citing·20 second hop
The Operatic Canon (2015)The Operatic CanonThe Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (2009)The Great Transformation of M…Changing the Score: Arias, Prima Donnas, and the Authority of Performance (2009)Changing the Score: Arias, Pr…Fashionable acts: opera and elite culture in London, 1780-1880 (2008)Fashionable acts: opera and e…The Pursuit of High Culture: John Ella and Chamber Music in Victorian London (2007)The Pursuit of High Culture: …Divas and scholars: performing Italian opera (2007)Divas and scholars: performin…In der Mitte der Gesellschaft : Operntheater in Zentraleuropa 1815-1914 (2006)In der Mitte der Gesellschaft…Cultivating Music: The Aspirations, Interests, and Limits of German Musical Culture, 1770-1848 (2002)Cultivating Music: The Aspira…Listening in Paris: A Cultural History. (1995)Listening in Paris: A Cultura…E.T.A. Hoffmann's musical writings: Kreisleriana, The poet and the composer, music criticism (1990)E.T.A. Hoffmann's musical wri…The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario (1985)The Opera Industry in Italy f…Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni (1983)Rhythmic Gesture in Mozart: L…The origins of modern musical criticism: French and Italian music, 1600-1750 (1981)The origins of modern musical…Opera After the Zero Hour (2019)Opera After the Zero HourTWO HUNTERS, A MILKMAID AND THE FRENCH ‘REVOLUTIONARY’ CANON (2018)TWO HUNTERS, A MILKMAID AND T…Female Singers on the French Stage, 1830–1848 (2018)Female Singers on the French …Verdi and the French Aesthetic: Verse, Stanza, and Melody in the Nineteenth-Century Opera (2008)Wagner-Dampf: Steam in Der Ring des Nibelungen and Operatic Production (2011)The Cambridge History of Musical Performance (2012)Vocal performance in the seventeenth century (2012)Introduction: music, the city and the modern experience (2013)Unravelling the omnivore: A field analysis of contemporary musical taste in the United Kingdom (2011)The Cambridge Companion to Opera Studies (2012)The Cambridge History of Music Criticism (2019)Music as Discourse (2008)Harmony in Haydn and Mozart (2012)Theorizing Sound Writing (2017)Music Lovers (2001)After Adorno : rethinking music sociology (2003)Soundscapes: Toward a Sounded Anthropology (2010)Magic Mirrors and the Seria Stage: Thoughts toward a Ritual View (1995)The Viennese symphony 1750 to 1827 (2013)Writing about Popular Music (2019)Metaphors of depth in German musical thought : from E. T. A. Hoffmann to Arnold Schoenberg (2011)Choral fantasies: music, festivity, and nationhood in nineteenth-century Germany (2013)Inventing Eastern Europe in the Ear of the Enlightenment (2018)
this work references cited by second hop

References

  • 1995Listening in Paris: A Cultural History.329 cited
  • 1983Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni299 cited
  • 2009The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms271 cited
  • 1990E.T.A. Hoffmann's musical writings: Kreisleriana, The poet and the composer, music criticism221 cited
  • 1985The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario157 cited
  • 2002Cultivating Music: The Aspirations, Interests, and Limits of German Musical Culture, 1770-1848124 cited
  • 2008Fashionable acts: opera and elite culture in London, 1780-1880120 cited
  • 1981The origins of modern musical criticism: French and Italian music, 1600-175097 cited
  • 2006In der Mitte der Gesellschaft : Operntheater in Zentraleuropa 1815-191465 cited
  • 2007Divas and scholars: performing Italian opera62 cited
  • 2007The Pursuit of High Culture: John Ella and Chamber Music in Victorian London59 cited
  • 2009Changing the Score: Arias, Prima Donnas, and the Authority of Performance49 cited

Cited by

  • 2018Female Singers on the French Stage, 1830–184831 cited
  • 2019Opera After the Zero Hour26 cited
  • 2018TWO HUNTERS, A MILKMAID AND THE FRENCH ‘REVOLUTIONARY’ CANON

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12 cited