A01=Gary Tomlinson
Absolute music
Alessandro Scarlatti
All things
Analogy
Assonance
Astrology
At the Center
Augury
Author_Gary Tomlinson
Bembo
Bernardino Telesio
Category=AVLF
Category=QDTJ
Circumlocution
Coloratura
Condition of possibility
Consonant
Declamation
Determination
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Euridice (Peri)
Genre
Great chain of being
Hyperreality
Ineffability
Instrumentalism
Introjection
Jacopo Peri
Joseph Kerman
Kantianism
L'Arianna
Literary theory
Literature
Madrigal
Metonymy
Mimesis
Music theory
Musical expression
Musical theatre
Musicality
Musicology
Narrative
Ontology
Opera seria
Ottavio Rinuccini
Philosopher
Phrase (music)
Pietro Pomponazzi
Pleonasm
Poliziano
Program music
Prose
Psychoanalysis
Renaissance
Rhythm
Roger Parker
Scansion
Singing
Soliloquy
Subjectivity
Teleology
The Soul of the World
Theodor W. Adorno
Theory
Thought
Tommaso Campanella
Tonality
Transcendental idealism
Treatise
Vincenzo Galilei
Walter Benjamin
Western culture
Word painting
Writing
Product details
- ISBN 9780691004099
- Weight: 28g
- Dimensions: 197 x 254mm
- Publication Date: 21 Feb 1999
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
Secure
checkout
Fast Shipping
Easy returns
In this bold recasting of operatic history, Gary Tomlinson connects opera to shifting visions of metaphysics and selfhood across the last four hundred years. The operatic voice, he maintains, has always acted to open invisible, supersensible realms to the perceptions of its listeners. In doing so, it has articulated changing relations between the self and metaphysics. Tomlinson examines these relations as they have been described by philosophers from Ficino through Descartes, Kant, and Nietzsche, to Adorno, all of whom worked to define the subject's place in both material and metaphysical realms. The author then shows how opera, in its own cultural arena, distinct from philosophy, has repeatedly brought to the stage these changing relations of the subject to the particular metaphysics it presumes. Covering composers from Jacopo Peri to Wagner, from Lully to Verdi, and from Mozart to Britten, Metaphysical Song details interactions of song, words, drama, and sounds used by creators of opera to fill in the outlines of the subjectivities they envisioned.
The book offers deep-seated explanations for opera's enduring fascination in European elite culture and suggests some of the profound difficulties that have unsettled this fascination since the time of Wagner.
Gary Tomlinson is Annenberg Professor in the Humanities at the University of Pennsylvania and has held Guggenheim and MacArthur fellowships. His books include Monteverdi and the End of the Renaissance and Music in Renaissance Magic: Toward a Historiography of Others.
