Search results for ""author roberta montemorra marvin""

This newest volume in the "Works of Giuseppe Verdi" series comprises his only two surviving secular choral works: "Inno popolare", or "Hymn of the People", for unaccompanied male chorus, and "Inno delle nazioni", or "Hymn of the Nations", for tenor solo, chorus, and orchestra. Verdi wrote the brief "Inno popolare" in 1848 at the behest of the Italian philosopher and patriot Giuseppe Mazzini, hoping that it would become an anthem for Italy. He wrote no more independent patriotic pieces until he was asked in 1861 to represent his country with a patriotic composition at a musical jubilee during London's International Exhibition of 1862. The resulting piece was "Inno delle nazioni", the critical edition of which is based on Verdi's autograph score, preserved at the British Library. Other important sources include the composer's musical sketches, recently discovered in the Verdi family villa, and the performing parts Toscanini used for a BBC broadcast in 1943.

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Opens up significant paths for conversation about how musical concepts, practices and products were shaped by interrelationships between culture and commerce. Art and money, culture and commerce, have long been seen as uncomfortable bedfellows. Indeed, the connections between them have tended to resist full investigation, particularly in the musical sphere. The Idea of Art Music in aCommercial World, 1800-1930, is a collection of essays that present fresh insights into the ways in which art music, i.e., classical music, functioned beyond its newly established aesthetic purpose (art for art's sake) and intersected with commercial agendas in nineteenth- and early twentieth-century culture. Understanding how art music was portrayed and perceived in a modernizing marketplace, and how culture and commerce interacted, are the book's main goals. In this volume, international scholars from musicology and other disciplines address a range of unexplored topics, including the relationship of sacred music with commerce in the mid nineteenth century, the roleof music in urban cultural development in the early twentieth, and the marketing of musical repertories, performers and instruments across time and place, to investigate what happened once art music began to be understood as needing to exist within the wider framework of commercially oriented culture. Historical case studies present contrasting topics and themes that not only vary geographically and ideologically but also overlap in significant ways, pushing back the boundaries of the 'music as commerce' discussion. Through diverse, multidisciplinary approaches, the volume opens up significant paths for conversation about how musical concepts, practices and products were shaped byinterrelationships between culture and commerce. CHRISTINA BASHFORD is Associate Professor of Musicology at the University of Illinois. ROBERTA MONTEMORRA MARVIN is Director of the Opera Studies Forum in the Obermann Center for Advanced Studies at the University of Iowa, where she is also on the faculty. CONTRIBUTORS: Christina Bashford, George Biddlecombe, Denise Gallo, David Gramit, Catherine Hennessy Wolter, Roberta Montemorra Marvin, Fiona Palmer, Jann Pasler, Michela Ronzani, Jon Solomon, Jeffrey S. Sposato, Nicholas Vazsonyi, David Wright

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How can music withstand the death and destruction brought on by war? Global conflicts of the 20th century fundamentally transformed not only national boundaries, power relations, and global economies, but also the arts and culture of every nation involved. An important, unacknowledged aspect of these conflicts is that they have unique musical soundtracks. Music in World War II explores how music and sound took on radically different dimensions in the United States and Europe before, during, and after World War II. Additionally, the collection examines the impact of radio and film as the disseminators of the war's musical soundtrack. Contributors contend that the European and American soundtrack of World War II was largely one of escapism rather than the lofty, solemn, heroic, and celebratory mode of "war music" in the past. Furthermore, they explore the variety of experiences of populations forced from their homes and interned in civilian and POW camps in Europe and the United States, examining how music in these environments played a crucial role in maintaining ties to an idealized "home" and constructing politicized notions of national and ethnic identity. This fascinating and well-constructed volume of essays builds understanding of the role and importance of music during periods of conflict and highlights the unique aspects of music during World War II.

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How can music withstand the death and destruction brought on by war? Global conflicts of the 20th century fundamentally transformed not only national boundaries, power relations, and global economies, but also the arts and culture of every nation involved. An important, unacknowledged aspect of these conflicts is that they have unique musical soundtracks. Music in World War II explores how music and sound took on radically different dimensions in the United States and Europe before, during, and after World War II. Additionally, the collection examines the impact of radio and film as the disseminators of the war's musical soundtrack. Contributors contend that the European and American soundtrack of World War II was largely one of escapism rather than the lofty, solemn, heroic, and celebratory mode of "war music" in the past. Furthermore, they explore the variety of experiences of populations forced from their homes and interned in civilian and POW camps in Europe and the United States, examining how music in these environments played a crucial role in maintaining ties to an idealized "home" and constructing politicized notions of national and ethnic identity. This fascinating and well-constructed volume of essays builds understanding of the role and importance of music during periods of conflict and highlights the unique aspects of music during World War II.

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Seventeen studies by noted experts that demonstrate recent approaches toward the creative interpretation of primary sources regarding Renaissance and Baroque music, Mozart, Beethoven, Mendelssohn, Verdi, Debussy, and beyond. How do we know what notes a composer intended in a given piece? -- how those notes should be played and sung? -- the nature of musical life in Bach's Leipzig, Schubert's Vienna? -- how music related to literature and other arts and social currents in different times and places? -- what attitudes musicians and music lovers had toward the music that they heard and made? We know all this from musical manuscripts and prints, opera libretti, composers'letters, reviews in newspapers and magazines, archival data, contemporary pedagogical writings, essays on aesthetics, and much else. Some of these categories of sources are the bedrock of music history and musicology. Others havebegun to be examined only in recent years. Furthermore, musicologists -- including biographers of famous composers -- now explore these various kinds of sources in a variety of ways, some of them richly traditional and others exciting and novel. These seventeen essays, all newly written, use a wide array of source materials to probe issues pertaining to a cross section of musical works and musical life from the sixteenth through the twentieth centuries. The resulting, pluralistic profile of current musicology will prove welcome to anyone fascinated by the problems of reconstructing -- reimagining, sometimes -- the evanescent musical art of the past and pondering its implications for musical life today and in the future. Roberta Montemorra Marvin is a Research Fellow at the Obermann Center for Advanced Studies at the University of Iowa where she is also Director of the Institute for Italian Opera Studies; Stephen A. Crist is associate professor and chair of the Music Department at Emory University.

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