The Unsung One: The Performer’s Voice in Twentieth-century Musical Monodrama.
In an examination of the evident yet overlooked subject of the singing body in opera studies, focusing on the soloist’s voice and role in twentieth-century musical stage works for a single performer offers a number of engaging insights. By observing contemporary staging and practices in light of cur...
| Publicado en: | Journal of Musicological Research Vol. 37; no. 2; pp. 119 - 141 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Apr-Jun2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=129549143&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 129549143 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01411896 7WF jtl: Journal of Musicological Research issn: 01411896 maglogo: N pubinfo: dt: Apr-Jun2018 vid: 37 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 129549143 10.1080/01411896.2017.1381522 ppf: 119 ppct: 22 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.9MB tig: atl: The Unsung One: The Performer’s Voice in Twentieth-century Musical Monodrama. aug: au: Placanica, Francesca affil: Maynooth University su: Monodramas (Theatrical production) Music theater Performance theory Soloists (Dancers) Tommasini, Anthony Monodramas (Musical form) sug: subj: Monodramas (Theatrical production) Music theater Performance theory Soloists (Dancers) Tommasini, Anthony Monodramas (Musical form) ab: In an examination of the evident yet overlooked subject of the singing body in opera studies, focusing on the soloist’s voice and role in twentieth-century musical stage works for a single performer offers a number of engaging insights. By observing contemporary staging and practices in light of current performance theories and studies of voice and opera, it is possible to construct an alternative reading of the performer’s embodied voice in musical monodrama, until now not fully addressed in the opera studies discourse. I argue that the performer’s agency should be redefined as a compelling extra-text to be asserted both theoretically and practically in the discourse and production surrounding twentieth-century monodrama and music theater stage works for one performer. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Musicological Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Musicological Research holder: Taylor & Francis Ltd dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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