By David J. Buch
Read or Download Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater PDF
Similar music: guitar books
Los angeles m? sica desconcierta al an? lisis. Ese arte de l. a. presencia, que no muestra ning? n objeto, que no es m? s que una acumulaci? n de mediadores --instrumentos, partituras, int? rpretes, escenarios, medios de comunicaci? n. .. --, parece ser, sin embargo, l. a. encarnaci? n de los angeles inmediatez, l. a. expresi?
This consultant to the piano literature for the one-handed pianist surveys over 2,100 person piano items which come with not just live performance literature yet pedagogical items to boot. Following the advent are 4 chapters cataloguing unique works for the best hand by myself, unique works for the left hand on my own, tune prepared or transcribed for one hand by myself, and concerted works for one hand in live performance with different pianists, tools, or voices.
- The Musical Playground: Global Tradition and Change in Children's Songs and Games
- Nirvana - Nevermind
- Invocacion y danza. Homenaje a Manuel de Falla (1961) (Guitar Score)
- The Words and Music of Carole King (The Praeger Singer-Songwriter Collection)
Extra info for Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater
Although the uneducated majority of Europe’s population in the seventeenth century continued to believe in prophecy, witchcraft, magic, and conjuring, 26 the scientiﬁc literature of the seventeenth century became independent of magic and the occult, leaving the supernatural to fantastic literature. One minor genre of this kind of literature would prove signiﬁcant in later years: Italian fairy tales. Giambattista Basile’s Lo cunto de li cunti, overo Lo trattenemiento de li peccerille (The Story of Stories or the Entertainment of the Little Ones) is the second major collection of fairy tales published in Europe.
23. Armeno expresses the Venetian interest in fantastic Persian tales in his Peregrinaggio. 24. See the notes by W. G. Waters in Straparola, Facetious Nights, 4:277–309. ) Sources of Magic and the Marvelous * 9 ﬁnd almost all of the major elements of the later fairy tale, including enchanted animals, magic rings, the dead returned to life, devils, witches, fairies, wizards, and astrologers. Like Boccaccio’s Decameron and other collections of novelle, Piacevoli notti has a frame story. Immensely successful, the Piacevoli notti occasioned some twenty editions before it fell out of favor.
8. Le petit chaperon rouge (Little Red Riding Hood). Perhaps the best-known of Perrault’s stories, the original version has the wolf inviting Little Red Riding Hood into bed before it eats the child. In addition to the prose contes, Perrault includes three contes in verse: 9. Peau d’âne (The Donkey’s Hide) in the only Perrault tale not known to have been set for the stage in the eighteenth century. 10. Les souhaits ridicules (The Ridiculous Wishes) is a popular tale with numerous precedents from the twelfth through the sixteenth century.