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Since its publication in 1938, this encyclopedia has been recognized as the outstanding single-volume book in scope, depth, and detail. It is widely considered to be the major encyclopedia of musical knowledge. In each subsequent edition over the years, existing topics were brought up-to-date and new topics were introduced. The changes in this 11th edition, both revision and extension, are contained in an addenda at the rear of the volume. This section is the chronicle of approximately 10 years, 1975-1985, the period separating the 11th edition from the previous one. Much of the material in this new Addenda section deals with topics entirely new to the Cyclopedia, such as persons, places, organizations, and compositional styles, among others. International in scope, this is the most modern reference available for all music lovers. ISBN 0-396-08412-5: $69.95 (For use only in the library).
A transnational history of the performance, reception, translation, adaptation and appropriation of Bizet's Carmen from 1875 to 1945. This volume explores how Bizet's opera swiftly travelled the globe, and how the story, the music, the staging and the singers appealed to audiences in diverse contexts.
Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too — this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence. Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera's past, present, and future. Why did its canon evolve so differently from that of concert music? Why do its top ten titles, all more than a century old, now account for nearly a quarter of all performances worldwide? Why is this system of production becoming still more top-heavy, even while the repertory seemingly expands, notably to include early music? Topics range from the seventeenth century to the present day, from Russia to England and continental Europe to the Americas. To reflect the contested nature of many of them, each is addressed in paired chapters. These complement each other in different ways: by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions in music and cultural history, and reinvigorates the dialogue with an industry that is, despite everything, still growing.