Osmin's Rage: Philosophical Reflections on Opera, Drama, and Text, with a New Final Chapter
In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical—as opposed to a dramatic—necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners are attuned to its seventeenth and eighteenth-century forebears.
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Ecstasy and prophecy
opera as invented art
Enter Philosophy in Classical attire
The musical parameters
Philosophy and Psychology in early modern dress
The irrational entertainment as rational solution
Listening with the ear of theory
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