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Music, the Market, and the Marvelous...

Sabbatini, Tommaso .

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Music, the Market, and the Marvelous: Parisian Feerie and the Emergence of Mass Culture, 1864-1900.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Music, the Market, and the Marvelous: Parisian Feerie and the Emergence of Mass Culture, 1864-1900./
Author:	Sabbatini, Tommaso .
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	316 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-10, Section: A.
Contained By:	Dissertations Abstracts International81-10A.
Subject:	Music history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27739385
ISBN:	9781658494250

Music, the Market, and the Marvelous: Parisian Feerie and the Emergence of Mass Culture, 1864-1900.
Sabbatini, Tommaso .

Music, the Market, and the Marvelous: Parisian Feerie and the Emergence of Mass Culture, 1864-1900. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 316 p.

Source: Dissertations Abstracts International, Volume: 81-10, Section: A.

Thesis (Ph.D.)--The University of Chicago, 2020.

This item must not be sold to any third party vendors.

This dissertation is one of the first book-length contributions on feerie, the French fairy play, and the very first from a music historian. It examines Parisian feerie between the 1864 deregulation of theatres (the chronological endpoint of Roxane Martin's monograph on the genre) and the turn of the century, relying on an extensive body of hitherto largely overlooked sources.It challenges the conventional wisdom according to which feerie faded into irrelevance during this period by arguing that a lower number of new plays did not mean a reduced presence of feerie on the Parisian stage, as well as by incorporating composerly feerie and scientific feerie into an integrated history of feerie. In fact, composerly feerie (inaugurated by Victorien Sardou and Jacques Offenbach's Le roi Carotte, 1872) and scientific feerie (inaugurated by Adolphe d'Ennery and Jules Verne's Le tour du monde en 80 jours, 1874) have long been chiefly associated with operetta and melodrama, respectively.Several concepts are introduced as interpretive tools for late nineteenth-century Parisian theatre: that of "theatre with music," including all genres where music has an essential role in the dramaturgy, from vaudeville to grand opera; operettization, the application of operetta-style music to genres beyond operetta; feerization, the spread of feerie dramaturgy beyond traditional feerie; and the "total work of art of the present," that is, a plurimedial work without centralized authorship, autonomy, or textual stability.

ISBN: 9781658494250Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Feerie

Music, the Market, and the Marvelous: Parisian Feerie and the Emergence of Mass Culture, 1864-1900.
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300 $a 316 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-10, Section: A.
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502 $a Thesis (Ph.D.)--The University of Chicago, 2020.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a This dissertation is one of the first book-length contributions on feerie, the French fairy play, and the very first from a music historian. It examines Parisian feerie between the 1864 deregulation of theatres (the chronological endpoint of Roxane Martin's monograph on the genre) and the turn of the century, relying on an extensive body of hitherto largely overlooked sources.It challenges the conventional wisdom according to which feerie faded into irrelevance during this period by arguing that a lower number of new plays did not mean a reduced presence of feerie on the Parisian stage, as well as by incorporating composerly feerie and scientific feerie into an integrated history of feerie. In fact, composerly feerie (inaugurated by Victorien Sardou and Jacques Offenbach's Le roi Carotte, 1872) and scientific feerie (inaugurated by Adolphe d'Ennery and Jules Verne's Le tour du monde en 80 jours, 1874) have long been chiefly associated with operetta and melodrama, respectively.Several concepts are introduced as interpretive tools for late nineteenth-century Parisian theatre: that of "theatre with music," including all genres where music has an essential role in the dramaturgy, from vaudeville to grand opera; operettization, the application of operetta-style music to genres beyond operetta; feerization, the spread of feerie dramaturgy beyond traditional feerie; and the "total work of art of the present," that is, a plurimedial work without centralized authorship, autonomy, or textual stability.
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