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Ombra
Supernatural Music in the Eighteenth Century
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2012
Summary
Ombra is the term which applies to an operatic scene involving the appearance of an oracle or demon, witches, or ghosts. Such scenes can be traced back to the early days of opera and were commonplace in the seventeenth century in Italy and France. Operas based on the legends of Orpheus, Iphigenia, and Alcestis provide numerous examples of ombra and extend well into the eighteenth century.
Clive McClelland's Ombra: Supernatural Music in the Eighteenth Century is an in-depth examination of ombra and is many influences on classical music performance. McClelland reveals that ombra scenes proved popular with audiences not only because of the special stage effects employed, but also due to increasing use of awe-inspiring musical effects. By the end of the eighteenth century the scenes had come to be associated with an elaborate set of musical features including slow, sustained writing, the use of flat keys, angular melodic lines, chromaticism and dissonance, dotted rhythms and syncopation, tremolando effects, unexpected harmonic progressions, and unusual instrumentation, especially involving trombones. It is clearly distinct from other styles that exhibit some of these characteristics, such as the so-called 'Sturm und Drang' or 'Fantasia.' Futhermore, parallels can be drawn between these features and Edmund Burke's 'sublime of terror,' thus placing ombra music on an important position in the context of eighteenth-century aesthetic theory.
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Bibliographic data
Copyright year
2012
ISBN-Print
978-0-7391-6973-5
ISBN-Online
978-0-7391-6974-2
Publisher
Lexington, Lanham
Language
English
Pages
245
Product type
Book Titles
Table of contents
ChapterPages
Contents No access
Introduction No access
Abbreviations No access
Chapter 1 Ombra Music in Context No access Pages 1 - 22
Chapter 2 Tonality (Opera) No access Pages 23 - 46
Chapter 3 Harmony and Line (Opera) No access Pages 47 - 82
Chapter 4 Tempo and Rhythm (Opera) No access Pages 83 - 122
Chapter 5 Texture, Dynamics and Instrumentation (Opera) No access Pages 123 - 142
Chapter 6 Case Studies in Opera No access Pages 143 - 162
Chapter 7 Ombra in Sacred Music No access Pages 163 - 202
Chapter 8 Ombra in Instrumental Music No access Pages 203 - 214
Chapter 9 Ombra after Mozart No access Pages 215 - 224
Appendix A No access Pages 225 - 226
Appendix B No access Pages 227 - 228
Bibliography No access Pages 229 - 238
Index No access Pages 239 - 244
About the Author No access Pages 245 - 245
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