Cormac Newark
Biographic Data
| ID | 3833150 |
|---|---|
| NAME | Cormac Newark |
| GIVEN NAMES | Cormac |
| FAMILY NAME | Newark |
| SIGNATURE | NEWARK C |
| AFFILIATIONS | Guildhall School of Music and Drama |
| VERIFIED | No |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 0 |
The Oxford Handbook of the Operatic Canon
This collection examines the phenomenon of the operatic canon: its formation, history, current ontology and practical influence, and future. It does so by taking an international and interdisciplinary view: the workshops from which it was derived included the participation of critics, producers, artistic directors, stage directors, opera company CEOs, and even economists, from the United Kingdom, the United States, France, Italy, Ireland, Germany…
Oxford Handbook of the Operatic Canon
The Politics of Opera: A History from Monteverdi to Mozart
For a famously elite pastime, opera of the seventeenth and eighteenth centuries (never mind the nineteenth) sometimes seems strangely fixated on the progress of social equality—not because back then its appeal extended further across the classes (although here and there it might have) but because of its origins in court culture and, especially, its function as an arena for debate about the most important topical issues. This function is Cohen’s o…
Borrowed Forms: The Music and Ethics of Transnational Fiction . By Kathryn Lachman
Despite Lachman’s personal knowledge of music, from a strictly musicological point of view (assuming for a moment that there is such a thing), Borrowed Forms sometimes reads more like Misinformed Borrowings . This is not necessarily, or at least not only, a problem with the book. Perhaps it is a problem with the discipline, or disciplines. In any case, both book and problem seem much more to do with metaphor than form. Music and/in/of fiction is …
Opera in the Novel from Balzac to Proust
The turning point of Madame Bovary, which Flaubert memorably set at the opera, is only the most famous example of a surprisingly long tradition, one common to a range of French literary styles and sub-genres. In the first book-length study of that tradition to appear in English, Cormac Newark examines representations of operatic performance from Balzac's La Comédie humaine to Proust's À la recherche du temps perdu, by way of (among others) Dumas …
Music speaks: On the Language of Opera, Dance, and Song. By Daniel Albright
Towards the end of his book—after having suggested that Meyerbeer, much-maligned composer of music for dramatically incongruous divertissements, is the patron saint of our postmodern age—Daniel Albright discusses the resistance of dance to opera: the impossible thing—the Tristan ballet—does exist, though Wagner didn't write it. It is Emmanuel Chabrier's Souvenirs de Munich: Quadrille sur les thèmes favoris de ‘Tristan et Isolde’ de Richard Wagner…
Metaphors for Meyerbeer
The avowed inability of nineteenth-century Parisian critics to express in words their impressions of music (whether instrumental or lyric) doubtless has something to do with a more or less general lack of training, but in the case of the works of Meyerbeer it also points to a particular idea of opera. An intense interest in orchestration (outlined here in reviews of Robert le diable, Les Huguenots, Le prophète and L'Africaine; also in Berlioz's G…
Dancla, Arnaud Phillipe
Dancla, (Jean Baptiste) Charles
Castil-Blaze
Dancla family
Dancla, (Jean Pierre) Léopold
Pessard, Emile
Dancla [Déliphard], (Alphonsine Geneviève) Laure
Joncières, Victorin de
No prominent works on this page.
Dancla, Arnaud Phillipe
Dancla, (Jean Baptiste) Charles
Castil-Blaze
Dancla family
Dancla, (Jean Pierre) Léopold
Pessard, Emile
Dancla [Déliphard], (Alphonsine Geneviève) Laure
Joncières, Victorin de
Metaphors for Meyerbeer
The avowed inability of nineteenth-century Parisian critics to express in words their impressions of music (whether instrumental or lyric) doubtless has something to do with a more or less general lack of training, but in the case of the works of Meyerbeer it also points to a particular idea of opera. An intense interest in orchestration (outlined here in reviews of Robert le diable, Les Huguenots, Le prophète and L'Africaine; also in Berlioz's G…
Opera in the Novel from Balzac to Proust
The turning point of Madame Bovary, which Flaubert memorably set at the opera, is only the most famous example of a surprisingly long tradition, one common to a range of French literary styles and sub-genres. In the first book-length study of that tradition to appear in English, Cormac Newark examines representations of operatic performance from Balzac's La Comédie humaine to Proust's À la recherche du temps perdu, by way of (among others) Dumas …
Music speaks: On the Language of Opera, Dance, and Song. By Daniel Albright
Towards the end of his book—after having suggested that Meyerbeer, much-maligned composer of music for dramatically incongruous divertissements, is the patron saint of our postmodern age—Daniel Albright discusses the resistance of dance to opera: the impossible thing—the Tristan ballet—does exist, though Wagner didn't write it. It is Emmanuel Chabrier's Souvenirs de Munich: Quadrille sur les thèmes favoris de ‘Tristan et Isolde’ de Richard Wagner…
Borrowed Forms: The Music and Ethics of Transnational Fiction . By Kathryn Lachman
Despite Lachman’s personal knowledge of music, from a strictly musicological point of view (assuming for a moment that there is such a thing), Borrowed Forms sometimes reads more like Misinformed Borrowings . This is not necessarily, or at least not only, a problem with the book. Perhaps it is a problem with the discipline, or disciplines. In any case, both book and problem seem much more to do with metaphor than form. Music and/in/of fiction is …
The Politics of Opera: A History from Monteverdi to Mozart
For a famously elite pastime, opera of the seventeenth and eighteenth centuries (never mind the nineteenth) sometimes seems strangely fixated on the progress of social equality—not because back then its appeal extended further across the classes (although here and there it might have) but because of its origins in court culture and, especially, its function as an arena for debate about the most important topical issues. This function is Cohen’s o…
The Oxford Handbook of the Operatic Canon
This collection examines the phenomenon of the operatic canon: its formation, history, current ontology and practical influence, and future. It does so by taking an international and interdisciplinary view: the workshops from which it was derived included the participation of critics, producers, artistic directors, stage directors, opera company CEOs, and even economists, from the United Kingdom, the United States, France, Italy, Ireland, Germany…
Oxford Handbook of the Operatic Canon
Art (8 works) · Literature (6 works) · Musical (5 works) · Opera (5 works) · Philosophy (5 works) · Aesthetics (4 works) · Art history (4 works) · Computer Science (4 works) · Musicology and Musical Analysis (4 works) · Epistemology (3 works)