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The Oxford Handbook of Opera
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The Oxford Handbook of Opera (2014)The Oxford Handbook of OperaThe “operatic of opera” in music history pedagogy – exploring the temporal narrativization of opera (2021)The “operatic of opera” in mu…On “Diegesis” and “Diegetic”: Words and Concepts (2020)On “Diegesis” and “Diegetic”:…Operatic Borrowing in Stephen Sondheim’s Sweeney Todd (2019)Operatic Borrowing in Stephen…Opera-Film as Television: Remediation in Tony Britten's Falstaff (2017)Opera-Film as Television: Rem…Liszt and the Symphonic Poem (2017)Liszt and the Symphonic PoemGlobalizing Operetta before the First World War (2017)Globalizing Operetta before t…Funding “Opera for the 80s and Beyond”: The Role of Impresarios in Creating a New American Repertoire (2017)Funding “Opera for the 80s an…Olivier Halanzier and the Operatic Museum in Late Nineteenth-Century France (2015)Olivier Halanzier and the Ope…It’s Not About the Cut: The Castrato’s Instrumentalized Song (2015)It’s Not About the Cut: The C…Richard Wagner's Prose Works (1894)The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century (1999)Opera and Society in Italy and France from Monteverdi to Bourdieu (2007)Church, State and an Operatic Outlaw: Jules Massenet'sHérodiade (2019)Nineteenth-Century Opera and the Scientific Imagination (2019)Opera and Hypnosis: Victor Maurel’s Experiments in Suggestion with Verdi’s Otello (2019)On the Way to Language (1959)The Question Concerning Technology, and Other Essays (1977)The Responsibility of Forms: Critical Essays on Music, Art, and Representation (1986)The Complete Works (1943)Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. (1997)Experimentalism Otherwise: The New York Avant-Garde and Its Limits (2011)Imperial Leather: Race, Gender and Sexuality in the Colonial Contest (1997)When did globalisation begin? (2002)Colonial masculinity (2017)Of Gypsy Barons and the Power of Love: Operetta Programming and Popularity in the Postwar Soviet Union (2018)A Huge Revolution of Theatrical Commerce (2020)“Arkhangelsky and Baliev, Baliev and Arkhangelsky”: Notes about the Music in the Cabaret Theater “Letuchaya Mysh” (2021)Television: Technology and Cultural Form (1974)The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (1989)A Theory of Adaptation (2006)Studying the Study of Television Music and Sound (2019)Developing Digital Classical Concert Stream Offerings – A Typology of Audience Preferences (2024)Anatomy of Criticism (1957)Classical form : a theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven (1998)The New Grove dictionary of music and musicians (2001)Franz Liszt's Heir: Ferruccio Busoni and Weimar (2019)Intertextuality, Subjectivity, and Meaning in Liszt’s Deux Polonaises (2019)Ave, Libertas!, Op. 18 de Leopoldo Miguéz, considerações sobre a estrutura musical (2021)Opera, or the Undoing of Women (1979)A Theory of Parody: The Teachings of Twentieth-Century Art Forms (1985)The Uses of Existing Music: Musical Borrowing as a Field (1994)Film Art: An Introduction (1979)Unheard melodies: narrative film music (1988)Narration in the Fiction Film (2013)Enacting the Worlds of Cinema (2022)Those Who Understand: Knowledge Growth in Teaching (1986)Towards a 'Natural' Narratology (2002)Content Knowledge for Teaching (2008)
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Cited by

  • 2017Liszt and the Symphonic Poem56 cited
  • 2020On “Diegesis” and “Diegetic”: Words and Concepts37 cited
  • 2017Globalizing Operetta before the First World War28 cited
  • 2015Olivier Halanzier and the Operatic Museum in Late Nineteenth-Century France24 cited
  • 2017Opera-Film as Television: Remediation in Tony Britten's Falstaff7 cited
  • 2017Funding “Opera for the 80s and Beyond”: The Role of Impresarios in Creating a New American Repertoire3 cited
  • 2021The “operatic of opera” in music history pedagogy – exploring the temporal narrativization of opera2 cited
  • 2015It’s Not About the Cut: The Castrato’s Instrumentalized Song2 cited
  • 2019Operatic Borrowing in Stephen Sondheim’s Sweeney Todd2 cited

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