東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Opera in English: Class and culture ...

Turner, Kristen M.

Linked to FindBook

Google Book

Amazon

博客來

Opera in English: Class and culture in America, 1878-1910.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Opera in English: Class and culture in America, 1878-1910./
Author:	Turner, Kristen M.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
Description:	455 p.
Notes:	Source: Dissertation Abstracts International, Volume: 76-09(E), Section: A.
Contained By:	Dissertation Abstracts International76-09A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3703971
ISBN:	9781321761061

Opera in English: Class and culture in America, 1878-1910.
Turner, Kristen M.

Opera in English: Class and culture in America, 1878-1910. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 455 p.

Source: Dissertation Abstracts International, Volume: 76-09(E), Section: A.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2015.

European grand opera performed in English translation was a potent cultural force in the United States at the end of the long nineteenth century. Analysis of business correspondence, theater records, advertisements, reviews, and social commentaries, reveals that rhetoric about opera engaged with issues of class, race, gender, and nationalism. Critics identified foreign-language grand opera as a high art, suitable primarily for the upper class and educated listeners. In contrast, writers viewed the same operas sung in English as entertainment for a middle-class audience who wished to enjoy opera in the vernacular performed by American singers. Southern small towns, such as Raleigh, North Carolina, used English-language opera and art music to reinforce racial boundaries and to project a civic identity as a refined, middle-class city. The African American community, as a result of segregation and oppression, had different conceptions about art, class, and culture than the white majority. African American writers framed English-language performances by the all-black Theodore Drury Grand Opera Company as a way to resist racial tyranny by emphasizing the skill of the troupe's singers and the sophistication of its educated black audience. The operatic marketplace was shaped by the same issues that influenced the discourses about opera. Advertisements and other types of marketing referred to class, race, and nationalism, while performers and impresarios created public personae that transgressed and reified nineteenth-century conceptions of gender. The critical reception and American performance traditions of Georges Bizet's Carmen were also influenced by the ideas that affected the reception, production, and marketing of opera as a whole. Pantomimes and crucial cuts recorded in scores used by English-language troupes at the time served to manipulate the audience's perceptions of Carmen's main characters to support the critics' reactions to the work, which were colored by contemporary political and social conditions. By 1910, when it had become clear that grand opera sung in English could not move into the high-art sphere occupied by foreign-language grand opera, the cultural niche for English-language opera closed, and its performers and impresarios transferred their energy and business savvy to middle-class entertainments such as vaudeville, Broadway musicals, and silent film.

ISBN: 9781321761061Subjects--Topical Terms:

516178
Music.

Opera in English: Class and culture in America, 1878-1910.
LDR:03347nmm a2200301 4500 001 2118448
005 20170605115652.5
008 180830s2015 ||||||||||||||||| ||eng d
020 $a 9781321761061
035 $a (MiAaPQ)AAI3703971
035 $a AAI3703971
040 $a MiAaPQ $c MiAaPQ
100 1 $a Turner, Kristen M. $3 3280284
245 1 0 $a Opera in English: Class and culture in America, 1878-1910.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2015
300 $a 455 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-09(E), Section: A.
500 $a Adviser: Annegret Fauser.
502 $a Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2015.
520 $a European grand opera performed in English translation was a potent cultural force in the United States at the end of the long nineteenth century. Analysis of business correspondence, theater records, advertisements, reviews, and social commentaries, reveals that rhetoric about opera engaged with issues of class, race, gender, and nationalism. Critics identified foreign-language grand opera as a high art, suitable primarily for the upper class and educated listeners. In contrast, writers viewed the same operas sung in English as entertainment for a middle-class audience who wished to enjoy opera in the vernacular performed by American singers. Southern small towns, such as Raleigh, North Carolina, used English-language opera and art music to reinforce racial boundaries and to project a civic identity as a refined, middle-class city. The African American community, as a result of segregation and oppression, had different conceptions about art, class, and culture than the white majority. African American writers framed English-language performances by the all-black Theodore Drury Grand Opera Company as a way to resist racial tyranny by emphasizing the skill of the troupe's singers and the sophistication of its educated black audience. The operatic marketplace was shaped by the same issues that influenced the discourses about opera. Advertisements and other types of marketing referred to class, race, and nationalism, while performers and impresarios created public personae that transgressed and reified nineteenth-century conceptions of gender. The critical reception and American performance traditions of Georges Bizet's Carmen were also influenced by the ideas that affected the reception, production, and marketing of opera as a whole. Pantomimes and crucial cuts recorded in scores used by English-language troupes at the time served to manipulate the audience's perceptions of Carmen's main characters to support the critics' reactions to the work, which were colored by contemporary political and social conditions. By 1910, when it had become clear that grand opera sung in English could not move into the high-art sphere occupied by foreign-language grand opera, the cultural niche for English-language opera closed, and its performers and impresarios transferred their energy and business savvy to middle-class entertainments such as vaudeville, Broadway musicals, and silent film.
590 $a School code: 0153.
650 4 $a Music. $3 516178
650 4 $a American studies. $3 2122720
650 4 $a American history. $3 2122692
690 $a 0413
690 $a 0323
690 $a 0337
710 2 $a The University of North Carolina at Chapel Hill. $b Musicology. $3 1022418
773 0 $t Dissertation Abstracts International $g 76-09A(E).
790 $a 0153
791 $a Ph.D.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3703971