The Lively Arts of the London Stage, 1675-1725

The Lively Arts of the London Stage, 1675-1725

by Kathryn Lowerre (Editor)


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Product Details

ISBN-13: 9781409455332
Publisher: Taylor & Francis
Publication date: 02/28/2014
Series: Performance in the Long Eighteenth Century: Studies in Theatre, Music, Dance Series
Pages: 324
Product dimensions: 6.10(w) x 9.30(h) x 1.30(d)

About the Author

Kathryn Lowerre is a musicologist and an editor of John Eccles’ collected works (A-R Editions). She has taught at Michigan State University, Colby College, and the University of Michigan, USA.

Table of Contents

Contents: Introduction. Part I First, Music: Settings of Congreve’s Judgment of Paris: The singers of The Judgment of Paris, Olive Baldwin and Thelma Wilson; Harmonia Anglicana or why finger failed in ’the price musick’, Robert Rawson; The ’prize musick’ of 1701: a reinvestigation of the staging issue, Matt Robertson. Part II Mainpiece: The Lively Arts of the London Stage: Composing after the Italian manner: the English cantata 1700-1710, Jennifer Cable; Johann Pepusch, aesthetics, and the sister arts, Sean M. Parr; From Scaramouche to Harlequin: dances ’in grotesque characters’ on the London stage, Jennifer Thorp; Music, magic, and morality: stage reform and the pastoral mode, Timothy Neufeldt; Madness ’free from vice’: musical eroticism in the pastoral world of The Fickle Shepherdess, Amanda Eubanks Winkler; ’Let all be husht’: songs in praise of Anne Bracegirdle and Arabella Hunt, Anthony Rooley; Burning and stoic men: mad rants and the performance of passionate pain in the plays of Nathaniel Lee, 1674 to1678, Jennifer Renee Danby; Appreciating Bononcini’s Astianatte (1727): an Italian opera for the London stage, Suzana Ograjenšek. Part III Afterpiece: Comedy, Farce, and Competition: The right to write; or, Colley Cibber and The Drury-Lane Monster, Melissa Bloom Bissonette; ’Quotation is the sincerest form of ...’?: signature songs as inter-theatrical references, Kathryn Lowerre. Bibliography; Index.

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