Sacred entertainments

Cambridge Opera Journal

Volumn 15, Issue 2, 2003, Pages 109-126

  Taruskin, Richard ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949769731     PISSN: 09545867     EISSN: 14740621     Source Type: Journal    
DOI: 10.1017/S0954586703001654     Document Type: Review

References (11)

1. "In the Center of American Music" (interview with Frank J. Oteri conducted on 21 November 2000), New Music Box, no. 21 ( vol. 2, no. 9): www.newmusicbox.org/ first-person/jan01/5.html
2. For the review, in the London Daily Post (18 April 1739), see Otto Erich Deutsch, Handel: A Documentary Biography (New York, 1955), 481; the most extensive interpretation of Handel's oratorios in the light of contemporary politics is Ruth Smith, Handel's Oratorios and Eighteenth-Century Thought (Cambridge, 1995)
3. David Brooks, Bobos in Paradise: The New Upper Class and How They Got There (New York, 2000), 40
4. Brooks, Bobos in Paradise, 242
5. See, for example, Bernard Holland, "With Ears and Eyes in Fierce Competition, the Eyes Have It," New York Times, 15 January 2001, B1
6. Hermann Broch, "Notes on the Problem of Kitsch," in Kitsch: The World of Bad Taste,
7. Gillo Dorfles (New York, 1969), 58
8. Quoted from Olivier Messiaen, The Technique of My Musical Language, trans. John Satterfield (Paris, 1956), 8
9. Messiaen, The Technique of My Musical Language, 7-8
10. Andrew Porter, "Surfeit," The New Yorker, 5 May 1986; rpt. in Porter, Musical Events: A Chronicle, 1983-86 (New York, 1989), 480
11. Leslie Sprout, "Messiaen's Quatuor pour la fin du temps: Modernism, Representation, and a Soldier's Wartime Tale," Program and Abstracts of Papers Read at the Joint Meetings of the American Musicological Society and the Society for Music Theory, October 31-November 3, 2002, 149