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Zeitmaschine Oper
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Vandenhoeck & Ruprecht
A broad range of buildings and formal contexts of behaviour were developed in past centuries in... mehr
Zeitmaschine Oper
A broad range of buildings and formal contexts of behaviour were developed in past centuries in order to perform and perceive music adequately. This article focuses on the way inwhich music was institutionalised, and refers in particular to the attempted reforms of opera houses in the late twentieth century. The operatic repertoire, the opera house as social space, and the opera as an arena of political performance show that the processes bywhich music was institutionalised do not followa linear pattern of alternating change and consolidation. Instead, they produce institutional effects which can be described as feedback loops, oscillating between historically habitualized practices, with their sets of norms and rules, and the new and continually changing configurations in which they find expression.
Autoreninfos
    • Sarah Zalfen
    • Dr. Sarah Zalfen ist wissenschaftliche Mitarbeiterin der Max-Planck-Forschungsgruppe »Gefühlte Gemeinschaften? Emotionen im Musikleben Europas« am Max Planck-Institut für Bildungsforschung Berlin. Sie absolvierte ihr Studium und ihre Promotion am Otto-Suhr-Institut für Politikwissenschaften der Freien Universität Berlin.
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