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| Author | : Ricciardi / Nugent |
| Publisher | : Lulu.com |
| Total Pages | : 118 |
| Release | : 2014-01-30 |
| Genre | : Performing Arts |
| ISBN | : 1304856429 |
Father Ruiz has always dreamed of circumnavigating the globe in a hot air balloon. When he finally gets up in the air, however, he finds himself confronted by his conscience, the four winds and, finally, the Devil himself.
| Author | : Ricciardi / Nugent |
| Publisher | : Lulu.com |
| Total Pages | : 130 |
| Release | : |
| Genre | : |
| ISBN | : 1329187512 |
| Author | : Ricciardi / Ames / Holmes / Nugent |
| Publisher | : Lulu.com |
| Total Pages | : 178 |
| Release | : |
| Genre | : |
| ISBN | : 1312283300 |
| Author | : John P. Anderson |
| Publisher | : Universal-Publishers |
| Total Pages | : 501 |
| Release | : 2013-08 |
| Genre | : Study Aids |
| ISBN | : 1612332749 |
This eighth in a series continues this ground-breaking word-by-word analysis of James Joyce's Finnegans Wake. This volume covers chapter 3.3, a long and difficult chapter in the form of a father's dream. Father HCE dreams of a passive son named "Yawn," a version of Shaun. Made passive by sucking up to customers, the father's primal desires project a passive son potentially subject to father control. And this Yawn is so passive he needs help in releasing his feces. Talk about anal retentive! The dreamer's script loads Yawn's defenseless psyche with aspects of father-troubled sons from the collective past, including Freud's famous client Wolfman, Cain and Oedipus. Father trouble registers as distortions in the son's sexual relationships. Father-fearing Wolfman took his controlled son role to a "hole" new level. After witnessing his parents' sex a tergo [male erect, female on knees, doggy style or "dog ma"] and fearing his father's angry reaction to his witness and celebratory primal turd, he adopted the ultimate passive beta male attitude: he wanted to be his father's wife. Yawn in the role of father-troubled Cain is questioned in the dream by the synoptic gospellers [Matthew, Mark and Luke]. They serve as tools of the father's desire to control his son, as they controlled the historical presentation of god's son Jesus. They try to reduce Yawn's particular take on independence, his Cain-like tendency to pursue his whims, including killing to get all the sisters. Cain's lack of caring gives us the problems of cities, which are splattered all over this chapter. Yawn in the role of father-troubled Oedipus makes the same mistake as Jesus in Gesthemane: he treats his foster father as his real father. Oedipus ends up with his mommy as wife as Yawn is hung up on his. The suggestion is made that the dreamer knows at some level that Shaun was fathered by Father Michael with a blackmailed ALP, not by foster father HCE. Freud's hypothesis plays out through Yawn's porous character: "individual gaps in human truth are filled by prehistoric truths." Yawn bears the puncture wounds of the prehistoric father desires for control. Yawn is defenseless because he lacks individuality. The chapter starts with an anal retentive and dependent son Yawn all alone in the dark, fearful and needing help with an enema. The chapter concludes as the new day dawns and a spontaneous evacuation is made. Gracing these more promising circumstances, the voice of the Holy Ghost [Joyce's version] as the individuality-enhancing father of Jesus boldly breaks into the dream, silences the OT father voice and brands as fraudulent the presentation of Jesus as a servant and eunuch by the three synoptic gospellers. The mystical gospeller John bears witness to the presence of the Holy Ghost by unloading a trinity of turds of shame and the old in order to clear his mind for active and mystical participation in the Holy Ghost. He unloads spontaneously, just as Wolfman did his primal turd. The Quick shed the Dead.
| Author | : Ayana O. Smith |
| Publisher | : Univ of California Press |
| Total Pages | : 327 |
| Release | : 2019-03-05 |
| Genre | : Music |
| ISBN | : 0520970403 |
Dreaming with Open Eyes examines visual symbolism in late seventeenth-century Italian opera, contextualizing the genre amid the broad ocularcentric debates emerging at the crossroads of the early modern period and the Enlightenment. Ayana O. Smith reevaluates significant aspects of the Arcadian reform aesthetic and establishes a historically informed method of opera criticism for modern scholars and interpreters. Unfolding in a narrative fashion, the text explores facets of the philosophical and literary background and concludes with close readings of text and music, using visual symbolism to create readings of gender and character in two operas: Alessandro Scarlatti's La Statira (Rome, 1690), and Carlo Francesco Pollarolo's La forza della virtù (Venice, 1693). Smith’s interdisciplinary approach enhances our modern perception of this rich and underexplored repertory, and will appeal to students and scholars not only of opera, but also of literature, philosophy, and visual and intellectual cultures.
| Author | : Sergei Bertensson |
| Publisher | : Pickle Partners Publishing |
| Total Pages | : 455 |
| Release | : 2017-04-07 |
| Genre | : Music |
| ISBN | : 1787204340 |
Throughout his career as composer, conductor, and pianist, Sergei Rachmaninoff (1873-1943) was an intensely private individual. When Bertensson and Leyda’s 1956 biography appeared, it lifted the veil of secrecy from several areas of Rachmaninoff’s life, especially concerning the genesis of his compositions and how their critical reception affected him. The authors consulted a number of people who knew Rachmaninoff, who worked with him, and who corresponded with him. Even with the availability of such sources and full access to the Rachmaninoff Archive at the Library of Congress, Bertensson and Leyda were tireless in their pursuit of privately held documents, particularly correspondence. The wonderfully engaging product of their labors masterfully incorporates primary materials into the narrative. Almost half a century after it first appeared, this volume remains essential reading. Sergei Bertensson, who knew Rachmaninoff, published other works on music and film, often with a documentary emphasis.
| Author | : Carl Gerbrandt |
| Publisher | : AuthorHouse |
| Total Pages | : 433 |
| Release | : 2006-12-28 |
| Genre | : Reference |
| ISBN | : 1452032572 |
“The indelible imprint of sacred music drama throughout history is undeniable . . . and its resurgence in the twentieth and twentieth-first centuries stirs the curiosity.” Carl Gerbrandt, in pursuing these issues, has brought to our fingertips a stimulating historical perspective on sacred music drama as well as an extensively annotated list of repertoire. Years of research have gone into providing information on centuries of sacred music dramas/operas which for the most part have been known to very few. Included in these pages of his Second Edition are over 330 sacred music dramas/operas, each with scholarly and practical information that will be of interest and great value to the opera director, the performer, the scholar, the conductor and the church musician. Gerbrandt's SETTING THE STAGE section is an enlightening overview of sacred music history. The repertoire selected includes works from the Middle Ages to works being written today. Each work is reviewed with regard to the source of libretto, the style and difficulty of its musical content, the date and location of the first performance, the number of acts and scenes, and the performance length of the work. Additionally, each role is listed by name and voicing, and in most cases, the vocal range is indicated. The choral demands, orchestrations and dance requirements are identified. A thorough plot synopsis as well as the location of scores and parts is given. Ten appendices cross-reference textual sources and topical content while assisting in the selection of works for worship services or theatrical performances. Select contact information of publishers and composers in also included. Sacred Music Drama: The Producer’s Guide fills a long standing void by acquainting directors, students, performers and interested readers with the numerous sacred music dramas which are available.
| Author | : Margaret Ross Griffel |
| Publisher | : Scarecrow Press |
| Total Pages | : 1015 |
| Release | : 2012-12-21 |
| Genre | : Music |
| ISBN | : 0810883252 |
Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.
| Author | : Thomas S. Hischak |
| Publisher | : Scarecrow Press |
| Total Pages | : 300 |
| Release | : 2002 |
| Genre | : Music |
| ISBN | : 9780810844407 |
A lively and informative look at the careers, works, and characteristics of the major librettists of the American theatre. Included are dozens of men and women who wrote the "books" for Broadway musicals over the past one hundred years, from George M. Cohan to the present day. Boy Loses Girl presents a whole new perspective for looking at the American musical theater. For film students, scholars and enthusiasts of the American musical theatre.
| Author | : Andrew H. Drummond |
| Publisher | : Metuchen, N.J : Scarecrow Press |
| Total Pages | : 294 |
| Release | : 1973 |
| Genre | : Music |
| ISBN | : |
