Free Delivery Over $100
|
|
|||
|
||||
OverviewIn his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical-as opposed to a dramatic-necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners are attuned to its seventeenth and eighteenth-century forebears. Full Product DetailsAuthor: Peter KivyPublisher: Cornell University Press Imprint: Cornell University Press Edition: 2nd ed. Dimensions: Width: 15.20cm , Height: 1.90cm , Length: 22.90cm Weight: 0.907kg ISBN: 9780801485893ISBN 10: 0801485894 Pages: 336 Publication Date: 30 March 1999 Audience: College/higher education , Professional and scholarly , Undergraduate , Postgraduate, Research & Scholarly Format: Paperback Publisher's Status: Active Availability: Awaiting stock  The supplier is currently out of stock of this item. It will be ordered for you and placed on backorder. Once it does come back in stock, we will ship it out for you. Table of ContentsReviewsKivy is simply the best philosopher writing about music today. . . . Here he studies the special problem of opera, how it became both a dramatic and a musical art, and what its underlying aesthetic principles are. He traces opera's philosophical foundations from the imitation theories of Plato and Aristotle, to the representation theory of the Italian Camerata, the mechanistic psychology of Descartes, the doctrine of affektenlehre, and the associationist psychology of the British Enlightenment. . . . Kivy's writing is honest, insightful, careful, and witty. . . . There is meat here for philosophers, musicians, music theorists, historians, and social critics. -Choice Author InformationPeter Kivy is Professor of Philosophy at Rutgers University and the author of Music Alone; Authenticities; and Sound and Semblance, all from Cornell. Tab Content 6Author Website:Countries AvailableAll regions |
||||
