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The culture of opera buffa in Mozart's Vienna: a poetics of entertainment
Mary Kathleen Hunter
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Frontmatter
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Preface and Acknowledgments (page xi)
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Editorial Policies (page xv)
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Abbreviations (page xvii)
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INTRODUCTION (page 3)
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PART ONE: Opera Buffa as Entertainment
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CHAPTER ONE Opera Buffa as Sheer Pleasure (page 27)
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CHAPTER TWO Opera Buffa's Conservative Frameworks (page 52)
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CHAPTER THREE Opera Buffa's Social Reversals (page 71)
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PART TWO: The Closed Musical Numbers of Opera Buffa and Their Social Implications
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CHAPTER FOUR Arias: Some Issues (page 95)
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CHAPTER FIVE Class and Gender in Arias: Five Aria Types (page 110)
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CHAPTER SIX Ensembles (page 156)
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CHAPTER SEVEN Beginning and Ending Together: Introduzioni and Finales (page 196)
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PART THREE: Cosí Fan Tutte le Opere? A Masterwork in Context
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CHAPTER EIGHT Cosí fan tutte in Conversation (page 247)
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CHAPTER NINE Cosí fan tutte and Convention (page 273)
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APPENDIX ONE Operas Consulted (page 299)
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APPENDIX TWO Musical Forms in Opera Buffa Arias (page 305)
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APPENDIX THREE Plot Summaries for I finti eredi, Le gare generose, and L'incognita perseguitata (page 309)
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Works Cited (page 313)
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Index (page 323)
Journal Abbreviation | Label | URL |
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JAMS | 55.3 (Autumn 2002): 547-562 | http://www.jstor.org/stable/831889 |
ES | 35.1 (Fall 2001): 160-162 | http://www.jstor.org/stable/30054144 |
Citable Link
Published: c1999
Publisher: Princeton University Press
- 9780691058122 (hardcover)
- 9781400822751 (ebook)