Handel as arranger and producer : listening to Pasticci in eighteenth-century London / Carlo Giorgio Lanfossi.

Format:

Book

Manuscript

Thesis/Dissertation

Author/Creator:

Lanfossi, Carlo Giorgio, author.

Contributor:

Calcagno, Mauro, degree supervisor.

Harris, Ellen T., degree committee member.

Kallberg, Jeffrey, 1954- degree committee member.

University of Pennsylvania. Department of Music, degree granting institution.

Language:

English

Subjects (All):

Penn dissertations--Music.

Music--Penn dissertations.

Local Subjects:

Penn dissertations--Music.

Music--Penn dissertations.

Physical Description:

xli, 330 leaves : illustrations ; 29 cm

Production:

[Philadelphia, Pennsylvania] : University of Pennsylvania, 2018.

Summary:

My dissertation investigates the experience of listening to previously-heard music assembled by composers through the exploration of a paradigmatic baroque genre, the operatic pasticcio. Focusing on productions by Georg Frideric Handel mounted between 1725 and 1739, my dissertation articulates three main issues: the role of material circulation of music in early eighteenth-century London; the notion of authorship in the context of the literary marketplace, copyright laws, and music appropriation in early eighteenth-century London; and the experience of listening to what a composer already listened to by borrowing music from other authors. Thus, I position the pasticcio in the context of non-music publishing, reading, and copying practices, and I argue that the genre was produced as a form of inscription of these listening and reading habits. By redefining the pasticcio as a form of listening inscription, my project reconsiders baroque opera's aurality as paradigmatic of pre-Enlightenment reading and listening practices. Drawing on methodologies and concepts from the fields of material texts and performance studies, my research expands previous musicological literature--which focused mostly on textual genealogy--by considering the pasticcio as emblematic of the 'ghosting' nature of opera altogether which relies on the memory of previous performances and the issue of musical recurrence.

Notes:

Ph. D. University of Pennsylvania 2018.

Department: Music.

Supervisor: Mauro Calcagno.

Includes bibliographical references.

OCLC:

1334946203