In Bewitching Russian Opera: The Tsarina from State to Stage, author Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century: Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions--from Catherine the Great's fairy tale operas to Tchaikovsky's Pique Dame--illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state. Ultimately, this book demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and performed on the musical stage political ambitions and international conquests which they would later enact on the world stage itself.

In Bewitching Russian Opera: The Tsarina from State to Stage, author Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century: Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas'' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns.Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions--from Catherine the Great''s fairy tale operas to Tchaikovsky''s Pique Dame--illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state. Ultimately, this book demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and performed on the musical stage political ambitions and international conquests which they would later enact on the world stage itself.

In Bewitching Russian Opera: The Tsarina from State to Stage, author Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century: Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas'' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns.Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions--from Catherine the Great''s fairy tale operas to Tchaikovsky''s Pique Dame--illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state. Ultimately, this book demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and performed on the musical stage political ambitions and international conquests which they would later enact on the world stage itself.

In Bewitching Russian Opera: The Tsarina from State to Stage, Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century - Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Bewitching Russian Opera ultimately demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and enacted on the musical stage political ambitions and international conquests which they would later carry out on the world stage itself.Beginning with the eighteenth-century imperial court, Naroditskaya illustrates the increased theatricality of the court and the popularity of musical theater among nobles, which occurred alongside an appropriation of folk and court ceremonies into the theater. Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions - from Catherine the Great's fairy tale operas to Tchaikovsky's Pique Dame - illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state.

Music in the American Diasporic Wedding explores the complex cultural adaptations, preservations, and fusions that occur in weddings between couples and families of diverse origins. Discussing weddings as a site of negotiations between generations, traditions, and religions, the essays gathered here argue that music is the mediating force between the young and the old, ritual and entertainment, and immigrant lore and assimilation. The contributors examine such colorful integrations as klezmer-tinged Mandarin tunes at a Jewish and Taiwanese American wedding, a wedding services industry in Chicago's South Asian community featuring a diversity of wedding music options, and Puerto Rican cultural activists dancing down the aisles of New York's St. Cecilia's church to the thunder of drums and maracas and rapping their marriage vows. These essays show us what wedding music and performance tell us about complex multiethnic diasporic identities and remind us that how we listen to and celebrate otherness defines who we are.

Music in the American Diasporic Wedding explores the complex cultural adaptations, preservations, and fusions that occur in weddings between couples and families of diverse origins. Discussing weddings as a site of negotiations between generations, traditions, and religions, the essays gathered here argue that music is the mediating force between the young and the old, ritual and entertainment, and immigrant lore and assimilation. The contributors examine such colorful integrations as klezmer-tinged Mandarin tunes at a Jewish and Taiwanese American wedding, a wedding services industry in Chicago's South Asian community featuring a diversity of wedding music options, and Puerto Rican cultural activists dancing down the aisles of New York's St. Cecilia's church to the thunder of drums and maracas and rapping their marriage vows. These essays show us what wedding music and performance tell us about complex multiethnic diasporic identities and remind us that how we listen to and celebrate otherness defines who we are.

Whether referred to as mermaid, usalka, mami wata, or by some other name, and whether considered an imaginary being or merely a person with extraordinary abilities, the siren is the remarkable creature that has inspired music and its representations from ancient Greece to present-day Africa and Latin America. This book, co-edited by a historical musicologist and an ethnomusicologist, brings together leading scholars and some talented newcomers in classics, music, media studies, literature, and cultural studies to consider the siren and her multifaceted relationships to music across human time and geography.

Song from the Land of Fire explores Azerbaijanian musical culture, a subject previously unexamined by American and European scholars. This book contains notations of mugham performance--a fusion of traditional poetry and musical improvisation--and analysis of hybrid genres, such as mugham-operas and symphonic mugham by native composers. Intimately connected to the awakening of Azerbaijanian national consciousness while ruled by the Russian Empire and the USSR, mugham is inseparable from the contexts in which it is produced and heard. Inna Naroditskaya provides the historical and political contexts for mugham and profiles the musicians, musical genealogies, and musical institutions of Azerbaijan.

Song from the Land of Fire explores Azerbaijanian musical culture, a subject previously unexamined by American and European scholars. This book contains notations of mugham performance--a fusion of traditional poetry and musical improvisation--and analysis of hybrid genres, such as mugham-operas and symphonic mugham by native composers. Intimately

Song from the Land of Fire explores Azerbaijanian musical culture, a subject previously unexamined by American and European scholars. This book contains notations of mugham performance--a fusion of traditional poetry and musical improvisation--and analysis of hybrid genres, such as mugham-operas and symphonic mugham by native composers. Intimately

In Bewitching Russian Opera: The Tsarina from State to Stage, author Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century: Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions--from Catherine the Great's fairy tale operas to Tchaikovsky's Pique Dame--illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state. Ultimately, this book demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and performed on the musical stage political ambitions and international conquests which they would later enact on the world stage itself.

In Bewitching Russian Opera: The Tsarina from State to Stage, author Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century: Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas'' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns.Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions--from Catherine the Great''s fairy tale operas to Tchaikovsky''s Pique Dame--illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state. Ultimately, this book demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and performed on the musical stage political ambitions and international conquests which they would later enact on the world stage itself.

In Bewitching Russian Opera: The Tsarina from State to Stage, author Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century: Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas'' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns.Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions--from Catherine the Great''s fairy tale operas to Tchaikovsky''s Pique Dame--illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state. Ultimately, this book demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and performed on the musical stage political ambitions and international conquests which they would later enact on the world stage itself.

In Bewitching Russian Opera: The Tsarina from State to Stage, Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century - Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Bewitching Russian Opera ultimately demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and enacted on the musical stage political ambitions and international conquests which they would later carry out on the world stage itself.Beginning with the eighteenth-century imperial court, Naroditskaya illustrates the increased theatricality of the court and the popularity of musical theater among nobles, which occurred alongside an appropriation of folk and court ceremonies into the theater. Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions - from Catherine the Great's fairy tale operas to Tchaikovsky's Pique Dame - illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state.

Music in the American Diasporic Wedding explores the complex cultural adaptations, preservations, and fusions that occur in weddings between couples and families of diverse origins. Discussing weddings as a site of negotiations between generations, traditions, and religions, the essays gathered here argue that music is the mediating force between the young and the old, ritual and entertainment, and immigrant lore and assimilation. The contributors examine such colorful integrations as klezmer-tinged Mandarin tunes at a Jewish and Taiwanese American wedding, a wedding services industry in Chicago's South Asian community featuring a diversity of wedding music options, and Puerto Rican cultural activists dancing down the aisles of New York's St. Cecilia's church to the thunder of drums and maracas and rapping their marriage vows. These essays show us what wedding music and performance tell us about complex multiethnic diasporic identities and remind us that how we listen to and celebrate otherness defines who we are.

Music in the American Diasporic Wedding explores the complex cultural adaptations, preservations, and fusions that occur in weddings between couples and families of diverse origins. Discussing weddings as a site of negotiations between generations, traditions, and religions, the essays gathered here argue that music is the mediating force between the young and the old, ritual and entertainment, and immigrant lore and assimilation. The contributors examine such colorful integrations as klezmer-tinged Mandarin tunes at a Jewish and Taiwanese American wedding, a wedding services industry in Chicago's South Asian community featuring a diversity of wedding music options, and Puerto Rican cultural activists dancing down the aisles of New York's St. Cecilia's church to the thunder of drums and maracas and rapping their marriage vows. These essays show us what wedding music and performance tell us about complex multiethnic diasporic identities and remind us that how we listen to and celebrate otherness defines who we are.

Whether referred to as mermaid, usalka, mami wata, or by some other name, and whether considered an imaginary being or merely a person with extraordinary abilities, the siren is the remarkable creature that has inspired music and its representations from ancient Greece to present-day Africa and Latin America. This book, co-edited by a historical musicologist and an ethnomusicologist, brings together leading scholars and some talented newcomers in classics, music, media studies, literature, and cultural studies to consider the siren and her multifaceted relationships to music across human time and geography.

Song from the Land of Fire explores Azerbaijanian musical culture, a subject previously unexamined by American and European scholars. This book contains notations of mugham performance--a fusion of traditional poetry and musical improvisation--and analysis of hybrid genres, such as mugham-operas and symphonic mugham by native composers. Intimately connected to the awakening of Azerbaijanian national consciousness while ruled by the Russian Empire and the USSR, mugham is inseparable from the contexts in which it is produced and heard. Inna Naroditskaya provides the historical and political contexts for mugham and profiles the musicians, musical genealogies, and musical institutions of Azerbaijan.

Song from the Land of Fire explores Azerbaijanian musical culture, a subject previously unexamined by American and European scholars. This book contains notations of mugham performance--a fusion of traditional poetry and musical improvisation--and analysis of hybrid genres, such as mugham-operas and symphonic mugham by native composers. Intimately

Song from the Land of Fire explores Azerbaijanian musical culture, a subject previously unexamined by American and European scholars. This book contains notations of mugham performance--a fusion of traditional poetry and musical improvisation--and analysis of hybrid genres, such as mugham-operas and symphonic mugham by native composers. Intimately