Ombra: Supernatural Music in the Eighteenth Century

SearchWorks Catalog

Edited by Danuta Mirka

Associate Professor Barbara Browning. Chi ama i libri sceglie Kobo e inMondadori. Ombra is the term which applies to an operatic scene involving the appearance of an oracle or demon, witches, or ghosts. It is clearly distinct from other styles that exhibit some of these characteristics, such as the so-called 'Sturm und Drang' or 'Fantasia. The Cambridge Companion to the Symphony.

Please subscribe or login to access full text content. If you have purchased a print title that contains an access token, please see the token for information about how to register your code. For questions on access or troubleshooting, please check our FAQs , and if you can''t find the answer there, please contact us. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use for details see Privacy Policy and Legal Notice. Publications Pages Publications Pages.

Join Kobo & start eReading today

Search within my subject: Politics Urban Studies U. History Law Linguistics Literature.

Reward Yourself

Ombra: Supernatural Music in the Eighteenth Century [Clive Mcclelland] on www.farmersmarketmusic.com *FREE* shipping on qualifying offers. Ombra is the term which applies. Clive McClelland's Ombra: Supernatural Music in the Eighteenth Century is an in- depth examination of ombra and is many influences on.

Music Neuroscience Philosophy Physical Sciences. The Oxford Handbook of Topic Theory. Don't have an account?

Baroque Music - Classical Music from the Baroque Period

While various scholars have written studies on the subject of musical "topics" from the eighteenth century Leonard Ratner, Wye J. Buelow, and Elaine Sisman , few have treated the topic of ombra with analysis or examination in detail. McClelland divides supernatural events and characters before Mozart's operas into five categories:.

He further observes that scenes of the last category, "devastating," involve characteristics that have "come to be associated with Sturm und Drang, namely, fast tempo, minor keys, disjunct motion, rapid scale passages, dissonances, chromaticism, irregular rhythms, loud dynamics, and full orchestral textures often involving brass and timpani" p. Indeed, he mentions that the main difference between the topic of ombra and that of Sturm und Drang is the tempo: Both are anachronistic terms that were first used in the twentieth century in an attempt to label the topics p.

Although they were not specifically used in the eighteenth century, the styles did exist and, as he argues, were widely understood by composers and audiences.

  • Morning to Midnight in the Saddle: Civil War Letters of a Soldier in Wilders Lightning Brigade.
  • Suche Vegetarier zum Anbeißen (German Edition)!
  • Sweet Surrender.
  • Bestselling Series.

One salient critique is that there are often so many overlapping areas between topics, particularly ombra and Sturm und Drang, that an attempt to keep them separate is difficult if If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'. View freely available titles: Book titles OR Journal titles. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Built on the Johns Hopkins University Campus. This website uses cookies to ensure you get the best experience on our website.

Without cookies your experience may not be seamless.

Clive McClelland

In lieu of an abstract, here is a brief excerpt of the content: