The conflict of norms in opera (notice n° 524553)
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fixed length control field | 01384cam a2200157 4500500 |
005 - DATE AND TIME OF LATEST TRANSACTION | |
control field | 20250121101412.0 |
041 ## - LANGUAGE CODE | |
Language code of text/sound track or separate title | fre |
042 ## - AUTHENTICATION CODE | |
Authentication code | dc |
100 10 - MAIN ENTRY--PERSONAL NAME | |
Personal name | Pouradier, Maud |
Relator term | author |
245 00 - TITLE STATEMENT | |
Title | The conflict of norms in opera |
260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
Date of publication, distribution, etc. | 2022.<br/> |
500 ## - GENERAL NOTE | |
General note | 67 |
520 ## - SUMMARY, ETC. | |
Summary, etc. | Opera was born under the aegis of two competing ideals: the ideal of Greek music and the ideal of Greek tragedy. This initial ambiguity leads to frequent normative conflicts on the theoretical, artistic, and aesthetic levels. Staging a work of fictional and theatrical art is not the same thing as staging an analogical storytelling based on a work of music. Evaluative criteria about a good vocal interpretation are also in conflict: Do we have to prioritize musical criteria, or are some musical flaws acceptable in the name of theatrical interpretation? The aesthetic experience of an opera is often in a fragile position within the hierarchy of the sensorial registers, particularly between the visual and sonic registers. On a more theoretical level, there is the problem of the status of singing in opera: Is it just a part of the musical medium, or does it have a fictional function? |
786 0# - DATA SOURCE ENTRY | |
Note | Nouvelle revue d’esthétique | o 29 | 1 | 2022-05-31 | p. 117-126 | 2264-2595 |
856 41 - ELECTRONIC LOCATION AND ACCESS | |
Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-nouvelle-revue-d-esthetique-2022-1-page-117?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-nouvelle-revue-d-esthetique-2022-1-page-117?lang=en&redirect-ssocas=7080</a> |
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