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Additional info for Birdsong in the music of Olivier Messiaen, vol.1, vol.2 [PhD Thesis]
Cone, “Schubert’s Promissory Note: An Exercise in Musical Hermeneutics,” Nineteenth-Century Music 5/3 (1982): 233. 5â•‡ â•⁄ Giorgio Sanguinetti, “L’opera italiana nella critica musicale di Heinrich Schenker [Italian Opera in Heinrich Schenker’s Music Criticism],” Nuova rivista musicale italiana 29/3 (1995): 431–67. 4â•‡ 6â•‡ â•⁄ Carolyn Abbate and Roger Parker, “On Analyzing Opera,” in Analyzing Opera: Verdi and Wagner, ed. Carolyn Abbate and Roger Parker (Berkeley: University of California Press, 1989), 4.
61 The sort of generic emotional cues given by Stanislavsky in the abovequoted passage (“excitedâ•¯… jumpy and agitatedâ•¯…”) became anathema to him by the time he wrote the production notes for Othello in 1929–30. 62 As Grigori V. Kristi notes: The method of physical actions developed by Stanislavski during the last years of his life differs fundamentally from everything previously elaborated by him in the field of dramatic creativity. It was not only a new technique, but 35 Dramatic Closure a new conception of creativity, firmly based in science.
Anif-Salzburg: Mueller-Speiser, 18â•‡ 16 Tonality as Drama 1999), 199–217; Carl S. Leafstedt, Inside Bluebeard’s Castle: Music and Drama in Béla Bartók’s Opera (Oxford: Oxford University Press, 1999); and Giorgio Sanguinetti, “La funzione drammatica del campo tonale: Il duetto tra Carlo ed Elisabetta nel secondo atto del Don Carlo [The Dramatic Function of the Tonal Field: The Duet between Carlo and Elisabetta in the Second Act of Don Carlo],” in Giorgio Sanguinetti, Intersezioni: Quattro studi di teoria e analisi musicale (Cosenza: Università della Calabria, 1999), 109–36.