LEAH BROAD
Biographic Data
| ID | 6335975 |
|---|---|
| NAME | LEAH BROAD |
| GIVEN NAMES | LEAH |
| FAMILY NAME | BROAD |
| SIGNATURE | BROAD L |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Approaching Incidental Music
Incidental music of the early twentieth-century has received little musicological attention, despite its widespread use during this period of history. Theatres were a popular means by which audiences could interact with new music, and composers could experiment with new ideas and build collaborative relationships. Using a 1926 Swedish production of August Strindberg’s Till Damaskus (III), directed by Per Lindberg with music by Ture Rangström, thi…
Scaramouche, Scaramouche
Sibelius’s only balletic pantomime, Scaramouche , composed in 1913, remains one of his least-known works, even though it is one of his longest dramatic scores and belongs to his period of compositional re-evaluation. This article explores the pantomime in the context of its first production, performed in 1922 in Denmark and 1924 in Sweden. It argues that the pantomime’s reception both illuminates the importance of dance as a formative ‘modern’ ge…
No prominent works on this page.
Scaramouche, Scaramouche
Sibelius’s only balletic pantomime, Scaramouche , composed in 1913, remains one of his least-known works, even though it is one of his longest dramatic scores and belongs to his period of compositional re-evaluation. This article explores the pantomime in the context of its first production, performed in 1922 in Denmark and 1924 in Sweden. It argues that the pantomime’s reception both illuminates the importance of dance as a formative ‘modern’ ge…
Approaching Incidental Music
Incidental music of the early twentieth-century has received little musicological attention, despite its widespread use during this period of history. Theatres were a popular means by which audiences could interact with new music, and composers could experiment with new ideas and build collaborative relationships. Using a 1926 Swedish production of August Strindberg’s Till Damaskus (III), directed by Per Lindberg with music by Ture Rangström, thi…
Aesthetics (2 works) · Art (2 works) · Literature (2 works) · Musical (2 works) · Musicology and Musical Analysis (2 works) · Sociology (2 works) · Visual arts (2 works) · Arts, Culture, and Music Studies (1 work) · Dance (1 work) · Diversity and Impact of Dance (1 work)