Tin Pan Opera Operatic Novelties : in the Ragtime Era Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Tin Pan Opera Operatic Novelties : in the Ragtime Era Pdf, Epub, Ebook TIN PAN OPERA OPERATIC NOVELTIES : IN THE RAGTIME ERA PDF, EPUB, EBOOK Larry Hamberlin | 352 pages | 08 Dec 2016 | Oxford University Press | 9780190632199 | English | Oxford, United Kingdom Tin Pan Opera Operatic Novelties : In the Ragtime Era PDF Book Subscriber sign in You could not be signed in, please check and try again. Condition: New. The Operatic Italian American 3. Larry Hamberlin is an Associate Professor of music at Middlebury College, Vermont, where he teaches courses in European and American popular and classical music. No ratings or reviews yet No ratings or reviews yet. He rose to fame in , winning the preliminary round of the 44th Sanremo Music Festival performing "Miserere", with the highest marks ever recorded in the newcomers section. The final chapter begins with a survey of ragtime-era novelty songs about African American opera lovers. The Castrato and His Wife. Please, subscribe or login to access full text content. Google Scholar. Description Index About the author Though the distance between opera and popular music seems immense today, a century ago opera was an integral part of American popular music culture, and familiarity with opera was still a part of American "cultural literacy. These songs brilliantly captured the moment when popular music in America transitioned away from its European operatic heritage, and when the distinction between low- and high-brow "popular" musical forms was free to develop, with all its attendant cultural snobbery and rebellion. University Press Scholarship Online. Poor Little Butterfly. Part 2. Not registered? Canzone napoletana , sometimes referred to as Neapolitan song , is a generic term for a traditional form of music sung in the Neapolitan language, ordinarily for the male voice singing solo, although well represented by female soloists as well, and expressed in familiar genres such as the love song and serenade. See all 5 - All listings for this product. Abstracts Abstract Opera theatre forms an important part of Chinese Canadian cultural history. Powered by: Safari Books Online. It was first performed by Andrea Bocelli at the Sanremo Music Festival and recorded on his album of the same year, Bocelli. Andrea Bocelli is an Italian opera tenor and multi- instrumentalist. This specific ISBN edition is currently not available. Find in Worldcat. Ephraham and His Equals 6. Opera Popular music. In the early twentieth-century, when new social forces were undermining the view that our European heritage was intrinsically superior to our native vernacular culture, opera-that great inheritance from our European forebearers-functioned in popular discourse as a signifier for elite culture. Taken as a whole, the writings - many by Berlin himself -- provide a new perspective on Berlin that highlights his musical genius in the context of his artistic. Though the distance between opera and popular music seems immense today, a century ago opera was an integral part of American popular music culture, and familiarity with opera was still a part of American "cultural literacy. Scheming Young Ladies 5. Readers on American Musicians Ser. Basingstoke: Palgrave Macmillan. Combining traditional, European operatic melodies with the new and American rhythmic verve of ragtime, these songs painted vivid images of immigrant Americans, liberated women, and upwardly striving African Americans, striking emblems of the profound transformations that shook the United States at the beginning of the American century. About this product Product Information Without any formal training in music composition, Irving Berlin took a knack for music and turned it into the most successful songwriting career in American history. Author Larry Hamberlin guides us through this large but oft-forgotten repertoire of operatic novelties, and brings to life the rich humor and keen social criticism of the era. Sign in. Forgot password? Retrieved October 4, Public users can however freely search the site and view the abstracts and keywords for each book and chapter. At six years old, he so impressed opera singer Enrico Caruso that he performed with Caruso in a benefit concert for a deceased police officers family. Be the first to write a review About this product. Tin Pan Opera shows that these operatic novelty songs availed this connection to a humorous and critical end. Operatic pop or popera is a subgenre of pop music that is performed in an operatic singing style or a song, theme or motif from classical music stylized as pop. Sign up. Password Please enter your Password. Reader's Digest Magazines. Highly recommended. Tin Pan Opera Operatic Novelties : In the Ragtime Era Writer Salome and Her Sisters 4. Advanced Search. Find in Worldcat. Open Advanced Search. All rights reserved. Don't have an account? Introduction 1. Her work bridges musicology, music theory, Chinese opera and Sinophone studies. Emerging from these songs is a sense that in its popular music the United States was developing its own musical culture, worthy of standing alongside the high cultural legacy of Europe. These verbal and musical allusions illuminate social issues that the songs address either indirectly or directly in a comical way, as novelties. Mahalia Jackson and the Black Gospel Field. Part 1 considers songs that use Italian ope You can change your cookie settings through your browser. Gain a better understanding of the field of law and legal studies, which includes both the rules and regulations that govern society the law as well as the study of how law shapes and is shaped by political, economic, and cultural forces legal studies. Subscriber sign in You could not be signed in, please check and try again. Part 2. These songs brilliantly captured the moment when popular music in America transitioned away from its European operatic heritage, and when the distinction between low- and high-brow popular musical forms was free to develop, with all its attendant cultural snobbery and rebellion. The Castrato and His Wife. Combining traditional, European operatic melodies with the new and American rhythmic verve of ragtime, these songs painted vivid images of immigrant Americans, liberated women, and upwardly striving African Americans, striking emblems of the profound transformations that shook the United States at the beginning of the American century. Search Items. MLA Simeone, Nigel. During the ragtime era hundreds of humorous Tin Pan Alley songs centered on operatic subjects—either directly quoting operas or alluding to operatic characters and vocal stars of the time. You could not be signed in, please check and try again. Note The price listed on this page is the recommended retail price for Japan. Part 2. Buy from. Please enable Javascript on your browser to continue. This vibrant period of the s paved the way for full-fledged theatre operation in the following decade that brought about a new era of Chinese opera performance in Canada. Log in. Submit report Close. See the journals in your area. Forgot password? Recommended Articles Loading Search Options Looking for our book titles? Bookmark this article. Forgot password? Unlimited access to over 18 million full-text articles. Opera theatre forms an important part of Chinese Canadian cultural history. Following the American premiere of her to follow. Sign in with your library card Please enter your library card number. Salome and Her Sisters 4. Powered by: Safari Books Online. System error. Forgot password? Tin Pan Opera Operatic Novelties : In the Ragtime Era Reviews All Rights Reserved. Part 2. Please try again! Abstract access only. Check all that apply - Please note that only the first page is available if you have not selected a reading option after clicking "Read Article". Start 14 day Free Trial. Submit report Close. All rights reserved. There are no references for this article. In the early twentieth-century, when new social forces were undermining the view that our European heritage was intrinsically superior to our native vernacular culture, opera-that great inheritance from our European forebearers-functioned in popular discourse as a signifier for elite culture. These songs brilliantly captured the moment when popular music in America transitioned away from its European operatic heritage, and when the distinction between low- and high-brow "popular" musical forms was free to develop, with all its attendant cultural snobbery and rebellion. Puccini's La Boheme. Sign up. Submitting a report will send us an email through our customer support system. By Larry Hamberlin. The Operatic Italian American 3. Tin Pan Opera : operatic novelty songs in the ragtime era Hamberlin, Larry. It continues with an examination of songs commenting on European fascination with ragtime and with the music's appeal to white Americans. Pub date Nov Home About Privacy Policy. This specific ISBN edition is currently not available. In the early twentieth-century, when new social forces were undermining the view that our European heritage was intrinsically superior to our native vernacular culture, opera-that great inheritance from our European forebearers-functioned in popular discourse as a signifier for elite culture. Recommended Articles Loading Already have an account? There are no references for this article. Search for:. Tin Pan Opera Operatic Novelties : In the Ragtime Era Read Online Add to Basket. DeepDyve Pro. Cheung, Helen Kwan Yee. Scheming Young Ladies 5. Operatic pop or popera is a subgenre of pop music that is performed in an operatic singing style or a song, theme or motif from classical
Recommended publications
  • March 1St-18Th, 2012
    www.oeta.tv KETA-TV 13 Oklahoma City KOED-TV 11 Tulsa KOET-TV 3 Eufaula KWET-TV 12 Cheyenne Volume 42 Number 9 A Publication of the Oklahoma Educational Television Authority Foundation, Inc. March 1ST-18 TH, 2012 MARCH 2012 THIS MONTH page page page page 2 4 5 6 Phantom of the Opera 60s Pop, Rock & Soul Dr. Wayne Dyer: Wishes Fulfilled Live from the Artists Den: Adele at Royal Albert Hall f March 6 & 14 @ 7 p.m. f March 5 @ 7 p.m. f March 30 @ 9w p.m. f March 7 @ 7 p.m. 2page FESTIVAL “The Phantom of the Opera” at the Royal Albert Hall f Wednesday March 7 at 7 p.m. Don’t miss a fully-staged, lavish 25th anniversary mounting of Andrew Lloyd Webber’s long-running Broadway and West End extravaganza. To mark the musical’s Silver Anniversary, Andrew Lloyd Webber and Cam- eron Mackintosh presented “The Phantom of the Opera” in the sumptuous Victorian splendor of London’s Royal Albert Hall. This dazzling restaging of the original production recreates the jaw-dropping scenery and breath- Under the Streetlamp taking special effects of the original, set to Lloyd Webber’s haunting score. f Tuesday March 13 at 7 p.m. The production stars Ramin Karimloo as The Phantom and Sierra Boggess Under the Streetlamp, America’s hottest new vocal group, as Christine, together with a cast and orchestra of more than 200, including performs an electrifying evening of classic hits from the special guest appearances by the original Phantom and Christine, Michael American radio songbook in this special recorded at the Crawford and Sarah Brightman.
    [Show full text]
  • CCM-Summer 2016.Pdf
    Classical Reflection By Chantelle Constable Identical mirror twins Hannah and conjunction with the EP, which is Naomi Moxon grew up singing titled "The Night Before Christmas." nursery rhymes and listening to "Our video was really something Emmanuel & ourselves had been Vivaldi and Shania Twain in the car. talking about since we left The Voice. "We remember singing along... it was We had so many lovely comments probably quite embarrassing!" Now, about the song so we felt we really at the ages of 20, they are veterans of wanted to give back something to popular television talent show The those who support us!" Voice, and have just released their The girls' love of singing was instilled first Christmas EP. "We love from an early age. "Since the moment everything about Christmas... we could talk our mum would sing probably our favourite things are: with us for about an hour every Getting up early on Christmas morning. It was never about being perfect but just having fun!" Classical morning, dinner, wrapping everyone’s crossover seems to have also been an presents, and having family board instinctive choice, with the freedom it games." offers in its blend of styles and relaxing mood that appeals to a wide A video for "The Living Years," audience, even those who primarily featuring The Voice co-competitor listen to other genres. In choosing Emmanuel Nwamadi, was released in songs for their repertoire, melody enjoy everything!" takes top priority. The twins love As expected, the girls' voices are both "emotional songs," and love having soprano, and nearly identical to the audiences leave their concerts feeling point that they will often tradeoff "uplifted and happy." between the high and low harmonies within the same song ("It seems very "We always feel really honored when confusing but it happens naturally").
    [Show full text]
  • Exploring Canzone Napoletana and Southern Italian Migration Through Three Lenses
    Exploring Canzone Napoletana and Southern Italian Migration Through Three Lenses John L. Vitale Preamble and Purpose As a first-generation Italian-Canadian, the southern Italian immigrant experience has figured centrally in my upbringing. I have vivid memories of the rich and vibrant conversations that transpired at the dinner table every day. There were countless tales of my parents’ childhood, which included living in impoverished conditions and surviving the devastation of the Second World War. Other common topics of conversation included crossing the Atlantic, being separated from family, and the daily struggles of immigrating to an English-speaking country. At the very core of these conversations, however, was music, particularly the form of popular song that emanated out of Naples in the 19th and 20th centuries, otherwise known as the canzone napoletana. These songs of love, laughter, sorrow, and pain—famous the world over— have always been a genuine and sincere portal into the heart, mind, and soul of the southern Italian immigrant experience in Canada. The purpose of this article is threefold. First, through a biographical lens, this article investigates my own personal experiences as a first-generation Italian-Canadian and explores how post-World War II southern Italian immigrants in Toronto, Canada used the canzone napoletana as a coping mechanism for the daily hardships and struggles of immigrant life. Second, through the lens of the Italian Diaspora, this article investigates how Neapolitan song became the metaphorical voice for the vast majority of southern Italian immigrants around the world. Lastly, through the lens of non-Italians, this article examines how the canzone napoletana influenced non-Italian perceptions about Italy on a global scale.
    [Show full text]
  • Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College
    Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
    [Show full text]
  • Arxiv:1904.04948V1 [Cs.SI] 9 Apr 2019 Others Through the Emotions of Music and Its Lyrics [8]
    Environmental Changes and the Dynamics of Musical Identity Samuel F. Way,1, 2, ∗ Santiago Gil,2, y Ian Anderson,2, z and Aaron Clauset1, 3, x 1Department of Computer Science, University of Colorado, Boulder, CO, USA 2Spotify, New York, NY, USA 3Santa Fe Institute, Santa Fe, NM, USA Musical tastes reflect our unique values and experiences, our relationships with others, and the places where we live. But as each of these things changes, do our tastes also change to reflect the present, or remain fixed, reflecting our past? Here, we investigate how where a person lives shapes their musical preferences, using geographic relocation to construct quasi-natural experiments that measure short- and long-term effects. Analyzing comprehensive data on over 16 million users on Spotify, we show that relocation within the United States has only a small impact on individuals' tastes, which remain more similar to those of their past environments. We then show that the age gap between a person and the music they consume indicates that adolescence, and likely their environment during these years, shapes their lifelong musical tastes. Our results demonstrate the robustness of individuals' musical identity, and shed new light on the development of preferences. Music is the soundtrack of our lives. It reflects our personify [10{12]. mood and personality, as well as the important people, When a community forms around some kind of music, places, and times in our past [1]. In this way, a person's the surrounding environment takes on an identity of its musical identity|the set of musical tastes or preferences own.
    [Show full text]
  • Aesthetic and Technological Basis for Synthesis of Academic and Pop Vocal Traditions in the Aspect of Musical Pedagogy
    International Journal of Innovative Technology and Exploring Engineering (IJITEE) ISSN: 2278-3075, Volume-8 Issue-12, October 2019 Aesthetic and Technological Basis for Synthesis of Academic and Pop Vocal Traditions in the Aspect of Musical Pedagogy Natalya Sergeevna Yushchenko, Vera Petrovna Trifanova, Denis Vladimirovich Tsarev, Valentina Mikhailovna Shcherbinina, Maria Lvovna Kats and interpenetration, requiring new approaches in the Abstract: The paper systematizes the aesthetic and performing and pedagogical arts. technological foundations and describes the method of teaching Leading Russian and foreign teachers-theorists and modern pop singing based on the synthesis of academic and pop practitioners, psychologists, sociologists, art critics turn to vocal traditions in such a style as crossover. The subject of the the study of pop performance and education. However, the study is a set of theoretical, artistic, aesthetic, methodological and pedagogical principles of the modern vocal style, combining the pedagogical work with students of the pop-vocal direction of features of academic and pop vocal with their specificity. training is not widely enough and in detail covered in the scientific literature. In the vocal and pedagogical system, Keywords: aesthetics, technology, singing, academic vocal, pop there are still unsolved problems that force scientists to look vocal, tradition, pedagogy, crossover, classical music, popular for new educational technologies. The training process of a culture. modern pop singer is based on a number of organizational, pedagogical, educational and aesthetic principles that I. INTRODUCTION determine the high level of professional training of a future cultural figure. Nowadays, it is obvious that the interest in vocal performing creativity among children, youth, and even adult II.
    [Show full text]
  • Il Bollettino INSTITUTE Dedicated to the History and Culture of Italians in America
    CALANDRA ITALIAN AMERICAN il Bollettino INSTITUTE dedicated to the history and culture of Italians in America VOLUME 2 • ISSUE 2 • SUMMER 2009 TABLE OF CONTENTS 2 Dean’s Letter Personaggi: Angela Bambace 3 Conference: The Land of Our Return 4 Italics Staff News From the Archives 5 Si, Parliamo Italiano! Faculty Fellows 6-7 Conference: Neapolitan Postcards 8 CUNY/Italy Exchange Program Hunter College Student Interview 9 Ad Memoriam 10 Book Reviews 11 IAFSAC Publications back Calendar of Events The John D. Calandra Italian American Institute is a University Institute under the Aegis of Queens College/The City University of New York LETTER FROM THE DEAN Welcome to il Bollettino and news of College and Dr. Francesca Canadè Sautman increase in enrollment over the years and the exciting work the Calandra Institute has of Hunter College spent the spring semester the paradoxical suspension of the Advanced undertaken in recent months. working on their respective projects. This fall Placement Program in Italian. This spring we hosted two conferences, each professor will deliver a lecture reporting The latest “Affirmative Action Trends” each attended by an international lineup of on their research findings. report, prepared by Milione, Gambino, Itala scholars from Australia, Europe, Israel, and In June, the first nine interviews were Pelizzoli, and Carmine Pizzirusso, sheds North America. In March, the conference conducted for the Oral History Archive light on the position of Italian Americans “Neapolitan Postcards: The Canzone of Italian-American Legislators, beginning as a “protected class” within CUNY. The Napoletana as Transnational Subject” with state senators and assemblypersons. report indicates that nine of twenty CUNY presented a first in-depth look at this The project is coordinated by our visiting colleges have a lower percentage of Italian musical-cultural phenomenon.
    [Show full text]
  • 1 Il Divo, Italian
    1 Il Divo, Italian for "star or celebrity", is a multinational operatic pop vocal group created by the music manager, executive and reality TV star, Simon Cowell. Il Divo is formed by Carlos Marín, Urs Bühler, David Miller, and Sébastien Izambard. The idea behind Il Divo's creation came to Cowell after listening to Andrea Bocelli and Sarah Brightman's rendition of Con te partirò, he decided to form a multinational quartet (the members are from Spain, Switzerland, France and the United States) that tried to recreate the style of The Three Tenors. Simon Cowell conducted a worldwide search for young singers who were willing to embark on the Il Divo project which lasted two years, from 2001 until December 2003, when the fourth member of Il Divo, American tenor David Miller, was signed. The well-established formation of Il Divo comprises a renowned Spanish opera and Spanish baritone, Carlos Marín; two classically trained tenors, Swiss Urs Bühler and American David Miller; and a French pop singer, Sébastien Izambard. Il Divo sings in English, Italian, Spanish, French, and Latin. 1.- ¿Cuál de estas frases sirve como título del texto? a. Il Divo, el cuarteto comercial. b. Il Divo, la competencia de los Tres Tenores. c. Il Divo, el nuevo cuarteto multinacional. d. Il Divo, el cuarteto de barítonos y tenores. 2.- ¿Qué originó la creación de Il Divo? a. La idea de crear un concurso televisivo, un reality show. b. Tras la audición de los Tres Tenores. c. Tras la audición de Bocelli y Brightman cantando con los Tres Tenores.
    [Show full text]
  • La Canzone Napoletana
    La canzone napoletana. Tra memoria e innovazione a cura di Anita Pesce e Marialuisa Stazio La canzone napoletana. Tra memoria e innovazione a cura di Anita Pesce e Marialuisa Stazio Culture e Società del Mediterraneo, 1 Collana del Cnr-Issm, Responsabile Paola Avallone I contributi di questa pubblicazione sono stati sottoposti a un double blind peer reviewing Progettazione e sviluppo dei testi e dei contenuti multimediali a cura di Antonio Marra ISBN 978-88-909500-0-1 Copyright © 2013 by Consiglio Nazionale delle Ricerche (CNR), Istituto di Studi sulle Società del Mediterraneo (ISSM). INDICE PAOLA AVALLONE Prefazione pag. 7 MARIALUISA STAZIO I motivi di un progetto » 11 GIANFRANCO PLENIZIO I Passatempi Musicali da Guglielmo Cottrau a » 25 Francesco Florimo. Due diverse concezioni nell’elaborazione del ‘popolare’. Modalità di fruizione ed evoluzione dei linguaggi musicali. GIOVANNI AULETTA Canti paralleli » 41 MASSIMO LEOCATA Memoria ovvero rimembranza. Analisi dell’opera » 71 Rimembranza di Napoli di Giovanni Caramiello CARLA CONTI Schedare per credere. Analisi dei repertori della canzone » 87 napoletana per la configurazione di una scheda condivisa GIORGIO RUBERTI Presentazione e primi risultati di un’analisi stilistica » 97 sulla canzone napoletana classica ROSSELLA DEL PRETE La città del loisir. Il sistema produttivo dello spettacolo » 121 dal vivo a Napoli tra ‘800 e ‘900 MASSIMO PRIVITERA La nostra musica: «Fortunio» tra vecchie e nuove » 165 canzoni (1888-1899) PAOLO SOMMAIOLO Il café-chantant e la spettacolarizzazione della canzone a » 183 Napoli tra la fine dell’Ottocento e la prima guerra mondiale ANNAMARIA SAPIENZA Grandi interpreti della canzone napoletana tra musica e » 205 teatro: il caso di Gilda Mignonette GIULIANA MUSCIO Tra nostalgia e memoria: da Francesco Pennino a » 217 Francis Coppola GINO FREZZA Lacreme napulitane.
    [Show full text]
  • 02.Tesis Maestría Darwin Zúñiga Final Enero 2016
    UNIVERSIDAD DE CUENCA FACULTAD DE ARTES MAESTRÍA EN PEDAGOGÍA E INVESTIGACIÓN MUSICAL RECITAL DE MÚSICA NACIONAL Y POPULAR PARA CUARTETO VOCAL MASCULINO: ARREGLOS E INTERPRETACIÓN EN ESTILO POP LÍRICO Tesis previa a la obtención del grado de Magister en Pedagogía e Investigación Musical DARWIN VINICIO ZÚÑIGA CALLE. AUTOR MAGISTER ARLETI MARIA MOLERIO ROSA DIRECTOR CUENCA – ECUADOR 2016 Universidad de Cuenca RESUMEN En la presente investigación proponemos un estudio de un género del cual no se ha tenido muchas referencias, pocos exponentes han realizado propuestas sobre la temática, el pop lírico , basándonos en un inicio en las características de la música vocal y el estudio de su técnica e interpretación. La música vocal es un tema muy amplio, por eso solamente nos centraremos en principios específicos como la técnica, los diferentes tipos de voces, agrupaciones involucradas en la historia de la música vocal desde mediados de siglo XX, arreglos vocales para cuarteto masculino, etcétera. El pop lírico u operatic pop , como también se le conoce, al ser un estilo nuevo relativamente en nuestro país, será objeto principal de nuestro estudio, conoceremos en qué consiste y cuáles son las características que hacen de este estilo tan versátil al momento de fusionarse con diferentes géneros, en este caso, música nacional ecuatoriana ––pasillo, albazo, fox incaico––, música latinoamericana y música popular ––balada pop–– y el repertorio escogido, interpretado con técnica de canto lírico. Detallaremos el proceso compositivo y sus lineamientos generales así como del formato instrumental utilizado en los arreglos, tanto musicales como vocales, y de qué manera se han fusionado para una interpretación adecuada en un concierto de graduación.
    [Show full text]
  • Finding Foshan Heritage Hotbed Transforms Into Enertainment Hub
    P earl R iver D elta Finding Foshan Heritage hotbed transforms into enertainment hub Follow Us on WeChat Now Advertising Hotline 400 820 8428 Also in this issue: 城市漫步珠三角 英文版 3 月份 Keith Richards exclusive 国内统一刊号: CN 11-5234/GO China Intercontinental Press Inside the PLA compounds China's first pro female surfer MARCH 2014 《城市漫步》珠江三角洲 英文月刊 主管单位: 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位: 五洲传播出版社 地址: 北京市海淀区北三环中路31号生产力大楼B座7层 邮编100088 B-721 Shengchanli Building, No. 31 Beisanhuan Zhonglu, Haidian District, Beijing 100088, PRC http://www.cicc.org.cn 社长 President: 李红杰 Li Hongjie 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui Chief Editor Tom Lee Deputy Editor Jane Kent Shenzhen Editor Gary Maidment Events and Web Editor Will Wu Staff Writer S. E. Smith Editorial Assistant Van Fan Contributors Marina Garvey Birch, Marianna Cerini, Andrew Chin, Lena Gidwani, James Griffiths, Jeremiah Jenne, Karoline Kan, Monica Liau, Gary Maidment, Trevor Marshallsea, Zoey Zha Intern Alice Wang Urbanatomy Media Shanghai (Head office) 上海和舟广告有限公司 上海市澳门路872弄10号 邮政编码: 200050 No.10, Lane 872, Aomen Lu, Shanghai 200050 电话: 021-2213 9018 传真: 021-2213 9010 Guangzhou 上海和舟广告有限公司广州分公司 广州市麓苑路42号大院2号楼610室 邮政编码: 510095 Rm. 610, No. 2 Building, Area 42, Lu Yuan Lu, Guangzhou 510095 电话: 020-8358 6125 传真: 020-8357 3859 - 816 Shenzhen 深圳业务 电话: 0755-8623 3220 传真: 0755-6406 8538 Beijing 北京联络处 北京市东城区东直门外大街48号东方银座C座G9室 邮政编码: 100027 9G, Block C, Ginza Mall, No.48 Dongzhimen Wai Dajie, Dongcheng District, Beijing,
    [Show full text]
  • “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens's
    “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens’s Novels Marc Napolitano A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2009 Approved by Advisor: Allan Life Reader: Laurie Langbauer Reader: Tom Reinert Reader: Beverly Taylor Reader: Tim Carter © 2009 Marc Napolitano ALL RIGHTS RESERVED ii ABSTRACT Marc Napolitano: “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens’s Novels (Under the direction of Allan Life) This project presents an analysis of various musical adaptations of the works of Charles Dickens. Transforming novels into musicals usually entails significant complications due to the divergent narrative techniques employed by novelists and composers or librettists. In spite of these difficulties, Dickens’s novels have continually been utilized as sources for stage and film musicals. This dissertation initially explores the elements of the author’s novels which render his works more suitable sources for musicalization than the texts of virtually any other canonical novelist. Subsequently, the project examines some of the larger and more complex issues associated with the adaptation of Dickens’s works into musicals, specifically, the question of preserving the overt Englishness of one of the most conspicuously British authors in literary history while simultaneously incorporating him into a genre that is closely connected with the techniques, talents, and tendencies of the American stage. A comprehensive overview of Lionel Bart’s Oliver! (1960), the most influential Dickensian musical of all time, serves to introduce the predominant theoretical concerns regarding the modification of Dickens’s texts for the musical stage and screen.
    [Show full text]