Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance, but are at least partly produced, defined, and regulated by culture.
Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance, but are at least partly produced, defined, and regulated by culture.
Jane W. Davidson has performed in and directed opera for more than 30 years. She is currently Head of Performing Arts at the University of Melbourne's Conservatorium of Music. She has published widely, across the field of music psychology, musicology and practice as research. She is president of the Australian Music and Psychology Society. Michael Halliwell has enjoyed a career as an opera singer in Europe and as an academic at the University of Sydney Conservatorium of Music. He has published widely and is president of the International Association for Word and Music Studies. Stephanie Rocke is a Research Fellow at the University of Melbourne affiliated with the ARC Centre of Excellence for the History of Emotions, with wide-ranging interests and publications in music and culture across time.
Inhaltsangabe
Part 1 Australian Composers and their Operas Chapter 1: From European Romantic to "Wild Colonial Boy"? John Antill and Post-Colonial Australian Opera David Symons Chapter 2 The Voice of Emotion in Contemporary Australian Opera Michael Halliwell Chapter 3: Translating Page to Stage: Creating Emotionally Engaging Opera for Children Emma Jayakumar Chapter 4: Speechless: An Operatic Response to Human Rights Abuse in Twenty-first-century Australia Joel Crotty and Cat Hope Chapter 5: The Divorce: A Soap Opera Helen Rusak Part 2 Antipodean Performance and Practice Chapter 6: From Patriotism to Alterity: Charting the Australian experience of Purcell's Dido and Aeneas Jane W. Davidson and Stephanie Rocke Chapter 7: "Lamento d'Arianna": A Transhistorical Study of Staged Emotions and Affective Audience Responses Daniela Kaleva Chapter 8: Assembling Voyage to the Moon: Emotion, Creativity and Historicity in a New Australian Opera Joseph Browning and Jane W Davidson Chapter 9: Emotion as Multiple: Rehearsing Voyage to the Moon Joseph Browning Part 3 Collection Conclusions Chapter 10: Antipodean Classification, the Emotions of Othering and Multiculturalism Stephanie Rocke Chapter 11: What have we learnt about Emotions? Jane W. Davidson, Michael Halliwell and Stephanie Rocke
Part 1 Australian Composers and their Operas Chapter 1: From European Romantic to "Wild Colonial Boy"? John Antill and Post-Colonial Australian Opera David Symons Chapter 2 The Voice of Emotion in Contemporary Australian Opera Michael Halliwell Chapter 3: Translating Page to Stage: Creating Emotionally Engaging Opera for Children Emma Jayakumar Chapter 4: Speechless: An Operatic Response to Human Rights Abuse in Twenty-first-century Australia Joel Crotty and Cat Hope Chapter 5: The Divorce: A Soap Opera Helen Rusak Part 2 Antipodean Performance and Practice Chapter 6: From Patriotism to Alterity: Charting the Australian experience of Purcell's Dido and Aeneas Jane W. Davidson and Stephanie Rocke Chapter 7: "Lamento d'Arianna": A Transhistorical Study of Staged Emotions and Affective Audience Responses Daniela Kaleva Chapter 8: Assembling Voyage to the Moon: Emotion, Creativity and Historicity in a New Australian Opera Joseph Browning and Jane W Davidson Chapter 9: Emotion as Multiple: Rehearsing Voyage to the Moon Joseph Browning Part 3 Collection Conclusions Chapter 10: Antipodean Classification, the Emotions of Othering and Multiculturalism Stephanie Rocke Chapter 11: What have we learnt about Emotions? Jane W. Davidson, Michael Halliwell and Stephanie Rocke
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