Musicological studies have examined the metaoperistic repertoire, privileging its informative potential on the coeval production and reception habits, thus elevating them to precious testimonies for investigations of musical lexicography. This approach placed the examination of the Librettos in the foreground, neglecting the scores, and thus excluding the possibility of understanding how the operas were able to make comedy through music only (both in the 'metateatrical' insertions, both in other parts of the drama). In this study will examine some metaoperistic titles set up between the eighteenth and nineteenth centuries to identify the passages in which the score became the main source of rice among the audience.
La comicità musicale nei meta melodrammi tra Sette e Ottocento
Lorenzo Mattei
2013-01-01
Abstract
Musicological studies have examined the metaoperistic repertoire, privileging its informative potential on the coeval production and reception habits, thus elevating them to precious testimonies for investigations of musical lexicography. This approach placed the examination of the Librettos in the foreground, neglecting the scores, and thus excluding the possibility of understanding how the operas were able to make comedy through music only (both in the 'metateatrical' insertions, both in other parts of the drama). In this study will examine some metaoperistic titles set up between the eighteenth and nineteenth centuries to identify the passages in which the score became the main source of rice among the audience.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
