De vestiging van opera als kunstvorm
Identifieur interne : 000023 ( PascalFrancis/Corpus ); précédent : 000022; suivant : 000024De vestiging van opera als kunstvorm
Auteurs : B. MasoSource :
- Amsterdams sociologisch tijdschrift [ 0921-4933 ] ; 1994.
Descripteurs français
- Pascal (Inist)
English descriptors
Abstract
The first operas in history were merely applications of an intellectual reconstruction of the dramatical principles on which Greek tragedies were assumed to be based. Without being aware of it the founding fathers instigated a new genre which could serve important non-artistic purposes. However, this new form of opera was so remote from original ideals that it was constantly under attack for its absurdity and its lack of intellectual, musical and artistic content. The A. examines how opera managed to become established as a serious art form despite all those attacks. Central theme is the development of the specific conventions on which opera is based and the ways in which they were accepted. The analysis of how Lully managed to create an art form in 17th century France is the principle case study. Furthermore, the A. pays attention to Wagner's attemts to adapt the opera to prevailing new requirements of artistic autonomy. Finally, the article considers the problems confronting the opera due to the gradual rise of a dualistic structure in the artistic field with commercial art at one extreme of the continuum and avant-garde at the other ; as well as the way in which the crumbling position of the opera as a serious art form was restored
Notice en format standard (ISO 2709)
Pour connaître la documentation sur le format Inist Standard.
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Format Inist (serveur)
| NO : | FRANCIS 521-96-11189 INIST |
|---|---|
| ET : | (The foundation of the opera as art form) |
| OT : | De vestiging van opera als kunstvorm |
| AU : | MASO (B.) |
| DT : | Publication en série; Niveau analytique |
| SO : | Amsterdams sociologisch tijdschrift; ISSN 0921-4933; Pays-Bas; Da. 1994; Vol. 21; No. 3; Pp. 3-39; Bibl. 2 p.1/4 |
| LA : | Néerlandais |
| EA : | The first operas in history were merely applications of an intellectual reconstruction of the dramatical principles on which Greek tragedies were assumed to be based. Without being aware of it the founding fathers instigated a new genre which could serve important non-artistic purposes. However, this new form of opera was so remote from original ideals that it was constantly under attack for its absurdity and its lack of intellectual, musical and artistic content. The A. examines how opera managed to become established as a serious art form despite all those attacks. Central theme is the development of the specific conventions on which opera is based and the ways in which they were accepted. The analysis of how Lully managed to create an art form in 17th century France is the principle case study. Furthermore, the A. pays attention to Wagner's attemts to adapt the opera to prevailing new requirements of artistic autonomy. Finally, the article considers the problems confronting the opera due to the gradual rise of a dualistic structure in the artistic field with commercial art at one extreme of the continuum and avant-garde at the other ; as well as the way in which the crumbling position of the opera as a serious art form was restored |
| CC : | 52160 |
| FD : | Musique; Sociologie de la musique; Opéra; Reconnaissance sociale; Genre musical; Approche historique |
| ED : | Music; Sociology of music; Opera; Social recognition; Musical style; Historical approach |
| LO : | INIST-22270.354000057694280010 |
| ID : | 521 |
Links to Exploration step
Francis:521-96-11189Le document en format XML
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Without being aware of it the founding fathers instigated a new genre which could serve important non-artistic purposes. However, this new form of opera was so remote from original ideals that it was constantly under attack for its absurdity and its lack of intellectual, musical and artistic content. The A. examines how opera managed to become established as a serious art form despite all those attacks. Central theme is the development of the specific conventions on which opera is based and the ways in which they were accepted. The analysis of how Lully managed to create an art form in 17th century France is the principle case study. Furthermore, the A. pays attention to Wagner's attemts to adapt the opera to prevailing new requirements of artistic autonomy. 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