The conflict of norms in opera (notice n° 524553)

détails MARC
000 -LEADER
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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