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Selected writings illuminate a century of international dance.
One of the biggest stumbling blocks we hit when setting out to make our dreams come true is appreciating what is going well. Most of us have an unfortunate tendency to dwell on the problems rather than on the good things in our lives ... and then we wonder why things just seem to keep getting worse instead of better. In The Power of Appreciation in Everyday Life, psychologist Noelle Nelson explains how you can achieve success in every area of your life through transforming your beliefs with appreciation.
The cradle of ballet, tracing the origin of ballet as a theatre art back to its foundation by Louis XIV in 1669.
Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.
This is the first book-length study of the rich operatic repertory written and performed in France during the last two decades of the nineteenth century. Steven Huebner gives an accessible and colorful account of such operatic favorites as Manon and Werther by Massenet, Louise by Charpentier, and lesser-known gems such as Chabrier's Le Roi malgré lui and Chausson's Le Roi Arthus.
An examination of the female opera singer during the nineteenth and twentieth centuries.
Opera Acts explores a wealth of new historical material about singers in the late nineteenth century and challenges the idea that this was a period of decline for the opera singer. In detailed case studies of four figures - the late Verdi baritone Victor Maurel; Bizet's first Carmen, Célestine Galli-Marié; Massenet's muse of the 1880s and 1890s, Sibyl Sanderson; and the early Wagner star Jean de Reszke - Karen Henson argues that singers in the late nineteenth century continued to be important, but in ways that were not conventionally 'vocal'. Instead they enjoyed a freedom and creativity based on their ability to express text, act and communicate physically, and exploit the era's media. By these and other means, singers played a crucial role in the creation of opera up to the end of the nineteenth century.
The 1889 Exposition universelle in Paris is famous as a turning point in the history of French music, and modern music generally. This book explores the ways in which music was used, exhibited, listened to, and written about during the Exposition universelle. It also reveals the sociopolitical uses of music in France during the 19th century.
A wolf tree is a tree in a bush or a thicket which is different in shape from those around it; a tree whose broader trunk and spreading branches indicate that it once grew alone but is now surrounded. Alison Calder’s poems shine the light of a poet’s curiosity on all manner of “natural occurrences,” which nevertheless stand out. The book opens with an examination of the extreme forms this nature may take – from the Dutch legend of the false child Sooterkin, to two-headed calves, Zip the Pinhead, and other medical curiosities, particularly those captured by 19th century photographic techniques. The disquieting feelings created by these subjects persist, causing the reader to proceed watchfully, even when the poet’s attention switches to more common themes and images - plastic clotheslines,wildflowers of western Canada, snow geese, the Porta Nigra in Trier, Germany. A selection of poems from this manuscript received the Bronwen Wallace Memorial Award for writing excellence by a writer under the age of 35. A section of this manuscript, Sexing the Prairie, was published in the journal Open Letter in Fall 2006.
"Jann Pasler's remarkable Composing the Citizen reaches well beyond what any book concerned with music in society has ever attempted. Concentrating on France of the Third Republic, from the 1870s through the early 1900s, she demonstrates convincingly how music--whether new, old, popular, or élite, whether performed at institutions of state (such as the Opéra), the Folies Bergère, concert halls, or the zoo--helped to redefine what it meant to be French under evolving political circumstances. Equally adept in the languages of history, sociology, political science, reception history, and music analysis, Pasler establishes music's cultural significance and implicitly illuminates the role it can still play in countries like the United States."--Philip Gossett, The University of Chicago and University of Rome, La Sapienza "Composing the Citizen offers nothing less than a new paradigm for the study of musical cultures. Rather than forcing French music into the moulds developed for the Austro-German canon, Pasler simply studies the social uses of music in fin-de-siècle France. Her painstaking archival research allows her to present an astonishingly detailed account of musical practices, tastes, and activities; new names and genres come to the fore to engage in a variety of dynamic artistic scenes most of us never knew--or only thought we did by virtue of having read Proust. A masterwork of a scholar at the very peak of her career."--Susan McClary, MacArthur Fellow 1995 and author of Georges Bizet: Carmen and Modal Subjectivities: Self-Fashioning in the Italian Madgrigal "Utilité publique: a common-sense republican notion of sweeping consequence. In this greatly anticipated volume Jann Pasler uses it as touchstone, showing how and why musical life so mattered in Third-Republic France: layer after layer of it, in a journey that takes us past the Opéra and Conservatoire to the pops concerts, department stores, the zoo, the world's fairs, the overseas colonies. Companionable as a well-worn Baedeker, seductive as Roger Shattuck's The Banquet Years, this exquisitely styled and paced achievement is also a compelling read."--D. Kern Holoman, author of Berlioz and The Société des Concerts du Conservatoire, 1828-1967