Descripción del título
Opera Indigene [Re/presenti...
The representation of non-Western cultures in opera has long been a focus of critical inquiry, however, the diverse relationships between opera and First Nations and indigenous cultures have received less attention. Opera Indigene addresses the changing historical depictions of indigenous cultures in opera and the more contemporary hybridizations of the form by indigenous and First Nations artists. Drawing upon postcolonial theory, ethnomusicology, cultural geography and critical discourses on nationalism and multiculturalism, the collection brings together experts on opera and music in Canada
Monografía
monografia Rebiun12005476 https://catalogo.rebiun.org/rebiun/record/Rebiun12005476 m o d cr |n|---||||| 110404s2011 xx ob 001 0 eng d 9781409424062 1409424065 UOV1193541 UPVA 997915872603706 UAM 991008027820004211 CBUC 991001008562206712 CBUC 991010897591406709 EBLCP. eng. EBLCP. CGU. IDEBK. AU@. NT. OCLCQ. UNAV 782.1/089-dc22 Karantonis, Pamela Opera Indigene Recurso electrónico] Re/presenting First Nations and Indigenous Cultures Farnham Ashgate Pub. 2011 Farnham Farnham Ashgate Pub. 386 p. 386 p. EBSCO Academic eBook Collection Complete Ashgate Interdisciplinary Studies in Opera Incluye referencias bibliográficas e índice Cover; Contents; List of Figures; List of Tables; List of Music Examples; Notes on Contributors; Series Editor's Preface; Acknowledgments; Introduction; Part I Critical and Comparative Contexts: Opera's Colonizing Force and Decolonizing Potential; 1 Orpheus Conquistador; 2 Decentering Opera: Early Twenty-First-Century Indigenous Production; 3 "Singing from The Margins": Postcolonial Themes in Voss and Waiting for the Barbarians; 4 Performativity, Mimesis, and Indigenous Opera; Part II Australian Perspectives 5 "To Didj or Not to Didj": Exploring Indigenous Representation in Australian Music Theater Works by Margaret Sutherland and An6 Giving Voice to the Un-voiced "Witch" and the "Heart of Nothingness": Moya Henderson's Lindy; 7 The Eighth Wonder: Explorations of Place and Voice; Part III Indianism in the Americas; 8 Indianismo in Brazilian Romantic Opera: Shifting Ideologies of National Foundation; 9 Native Songs, Indianist Styles, and the Processes of Music Idealization; 10 Composed and Produced in the American West, 1912-1913: Two Operatic Portrayals of First Nations Cultures Part IV Canadian Perspectives11 Assimilation, Integration and Individuation: The Evolution of First Nations Musical Citizenship in Canadian Opera; 12 "Too Much White Man In It": Aesthetic Colonization in Tzinquaw; 13 Peaceful Surface, Monstrous Depths: Barbara Pentland and Dorothy Livesay's The Lake; 14 The Politics of Genre: Exposing Historical Tensions in Harry Somers's Louis Riel; Part V New Creation and Collaborative Processes; 15 Creating Pimooteewin; 16 After McPhee: Evan Ziporyn's A House in Bali 17 West Coast First Peoples and The Magic Flute: Tracing the Journey of a Cross-Cultural Collaboration18 Pecan Summer: The Process of Making New Indigenous Opera in Australia; Bibliography; Index The representation of non-Western cultures in opera has long been a focus of critical inquiry, however, the diverse relationships between opera and First Nations and indigenous cultures have received less attention. Opera Indigene addresses the changing historical depictions of indigenous cultures in opera and the more contemporary hybridizations of the form by indigenous and First Nations artists. Drawing upon postcolonial theory, ethnomusicology, cultural geography and critical discourses on nationalism and multiculturalism, the collection brings together experts on opera and music in Canada Forma de acceso: World Wide Web Robinson, Dylan