UID:
almafu_9958355483902883
Format:
1 online resource(xiii,224p.) :
,
illustrations.
Edition:
Electronic reproduction. Berlin/Boston : De Gruyter, 1995. Mode of access: World Wide Web.
Edition:
System requirements: Web browser.
Edition:
Access may be restricted to users at subscribing institutions.
ISBN:
9783110935141
Series Statement:
Theatron; 12
Content:
Franz Lehár (1870-1948), 'the composer most frequently performed within his own lifetime', still represents an unresolved dilemma for the historiography of music. In terms of modernism his music is of significance as a negative contrast to the products of the avant-garde, a significance largely bound up with the implications of operetta on the plane of cultural sociology within the general aesthetic context of the 20th century. Thus the question posed by operetta has little to do with aesthetic evaluation and a great deal to do with historical content. If, as Adorno suggests, "art for entertainment purposes is in social terms the guilty conscience of its serious counterpart", then Lehár's operettas, hitherto neglected by musicologists as not warranting serious attention, would in fact demand to be taken seriously as the aesthetic guilty conscience of light music.
Note:
Frontmatter --
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Vorbemerkung --
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Inhaltsverzeichnis --
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0. "Lehár ist besser". Vorwort --
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I. Von einem, der auszog... Lehárs Biographie. Prolog --
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II. Warenhaus Operette. Lehárs Salonoperette --
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IIΙ. Verinnerlichung zum Ausdruck gebracht. Der unbekannte Lehár --
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IV. Orpheus wandert ab ... Lehárs Graf von Luxemburg --
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V. Süße Lehár-gie. Lehár und die Geschichte --
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VI. Ausverkauf der Geschichte. Lehárs Lyrische Operette --
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VII. Dramatische Musik der dritten Art. Lehárs Giuditta. Epilog --
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Literaturverzeichnis.
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Also available in print edition.
,
In German.
Additional Edition:
ISBN 9783484660120
Additional Edition:
ISBN 9783111825526
Language:
German
DOI:
10.1515/9783110935141
URL:
https://doi.org/10.1515/9783110935141
URL:
https://doi.org/10.1515/9783110935141
