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基本説明
This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA).
Full Description
This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA).
The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies.
Contents
Preface
Werner Wolf: Metamusic? Potentials and Limits of 'Metareference' in Instrumental Music: Theoretical Reflections and a Case Study (Mozart's Ein musikalischer Spaß)
Robert Samuels: Mahler within Mahler: Allusion as Quotation, Self-Reference, and Metareference
Peter Dayan: Medial Self-Reference between Words and Music in Erik Satie's Piano Pieces
Frieder von Ammon: Opera on Opera (on Opera): Self-Referential Negotiations of a Difficult Genre
Walter Bernhart: Christophorus, oder "Die Vision einer Oper": Franz Schreker's Opera as a Metareferential Work
Michael Halliwell: 'The Play's the Thing': Self- and Metareference in Contemporary Operatic Adaptation of Twentieth-Century Drama
Simon Williams: Robert Carsen's Production of Les Contes d'Hoffmann: An Exercise in Theatrical Self-Reflection
Bernhard Kuhn: Leoncavallo's Pagliacci: Operatic Metareference on Stage and on Film
Joachim Grage: Intermedial Reference as Metareference: Hans Christian Andersen's Musical Novels
Notes on Contributors
