Blending insights from linguistic and social theories of speech, ritual and narrative with music-analytic and historical criticism,Britten's Musical Language offers fresh perspectives on the composer's fusion of verbal and musical utterance in opera and song. It provides close interpretative studies of the major scores (including Peter Grimes, Billy Budd, The Turn of the Screw, War Requiem, Curlew River and Death in Venice) and explores Britten's ability to fashion complex and mysterious symbolic dramas from the interplay of texted song and wordless discourse of motives and themes.
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Editorial Reviews
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"A probing examination of selected works from Britten's massive oeuvre." --Opera Journal
Book Description
Britten's music enjoys popular success and high critical regard in equal measure and his works communicate at a number of different levels. Through its recognisable sense of key, the music retains an audible link with earlier traditions; and yet there is always something more subversive in his music. It is this elusive quality that gives the music its expressive 'edge'. This book provides an analytic account of Britten's musical language focussing on the provisional and evanescent nature of tonality in his music.
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Inside This Book
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First Sentence:
Music, like speech, begins in the moment of utterance. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
leitmotivic return, leitmotivic reference, operatic utterance, instrumental utterance, sonic gaze, thematic utterance, operatic self, vengeance song, operatic death, orchestral voice, home tonic, thematic discourse, passacaglia theme, musical utterance, thematic returns, voice placement, illocutionary point, church parable, thematic argument, musical presence, host text, love vow, operatic drama, phenomenal performance, vocal utterance Key Phrases - Capitalized Phrases (CAPs): (learn more)
Curlew River, Peter Grimes, War Requiem, Billy Budd, Miss Jessel, Claggart's Act, First Lieutenant, Noye's Fludde, Our Hunting Fathers, Strawberry Seller, Owen's English, Philip Brett, Edward Fairfax Vere, Requiem Mass, San Marco, William Budd, Colin Graham, Eric Walter White, Erwin Stein, Mervyn Cooke New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Music, like speech, begins in the moment of utterance. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
leitmotivic return, leitmotivic reference, operatic utterance, instrumental utterance, sonic gaze, thematic utterance, operatic self, vengeance song, operatic death, orchestral voice, home tonic, thematic discourse, passacaglia theme, musical utterance, thematic returns, voice placement, illocutionary point, church parable, thematic argument, musical presence, host text, love vow, operatic drama, phenomenal performance, vocal utterance Key Phrases - Capitalized Phrases (CAPs): (learn more)
Curlew River, Peter Grimes, War Requiem, Billy Budd, Miss Jessel, Claggart's Act, First Lieutenant, Noye's Fludde, Our Hunting Fathers, Strawberry Seller, Owen's English, Philip Brett, Edward Fairfax Vere, Requiem Mass, San Marco, William Budd, Colin Graham, Eric Walter White, Erwin Stein, Mervyn Cooke New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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2
books
cite this book:
- Britten - War Requiem, Op. 66: The Masterworks Library (Boosey & Hawkes Masterworks Library) by Benjamin Britten on 30 pages
- Peter Grimes (Project Drama) by Michael Marland on 27 pages
- Benjamin Britten: Death in Venice (Cambridge Opera Handbooks) by Donald Mitchell on 25 pages
- The Turn of the Screw (Dover Thrift Editions) by Henry James on 20 pages
- Death in Venice by Thomas Mann on 11 pages
See all 100 books this book cites
- Music and Ideology in Cold War Europe (Music in the Twentieth Century) by Mark Carroll in Front Flap, and Front Matter
- Exploring Twentieth-Century Music: Tradition and Innovation by Arnold Whittall in Back Matter (1), and Back Matter (2)
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