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More About This Textbook
Overview
Editorial Reviews
From the Publisher
"It goes beyond strict musical analysis and examines these oeuvres and their contexts from a broad cultural perspective, drawing on the writings of contemporary philosophers and commentators." Opera Quarterly"This book is not an easy read, but any time spent between its covers will be amply rewarded.... a fluently written study that moves smoothly across the decades to become a cultural history of French opera from its origins to the Revolution.... Highly recommended." Choice
"Like a handy toolbox for singers and teachers, Miller's book provides detailed, well-rounded discussions of vocal technique, pedagogical issues, and performance concerns in one place, a rare scenario. As wel, the appendices are excellent for quick reference about vocal repertoire and IPA symbols. A must-have for anyone involved in the vocal field." — Opera Journal
"Thomas provides an excellent distillation of the conflict between seventeenth-century writers who championed staged tragedy and those who welcomed and defended tragédie en musique. Downing Thomas' book is an important addition to the study of the development of French opera, particularly for its blend of historical, philosophical, cultural, and critical studies." Opera Today, Deborah Kauffman, University of Northern Colorado
"Rather than answering all the questions raised closing off all possibilities, Thomas opens up new insights, draws together interesting primary sources, and engages in dialog with secondary literature from several disciplines." Notes
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Meet the Author
Downing A. Thomas is Associate Professor and Chair of the Department of French and Italian at the University of Iowa. He is the author of Music and the Origins of Language: Theories from the French Enlightenment (Cambridge, 1995), and co-editor of Empire and Occupation in France and the Francophone Worlds, a special issue of Studies in Twentieth-Century Literature (1999). He has also published numerous articles.
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