Hilde Roos, The La Traviata Affair: Opera in the Age of Apartheid
Musical performance can rarely be divorced from the political situation or cultural context in which it finds itself. There are, of course, countless occasions where musical performance has been wielded as if a political tool; a vehicle intended to help establish group identities and carry messages...
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| In: | URI:https://journals.openedition.org/transposition, |
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| Format: | Article ou chapitre numérique |
| Language: | Anglais |
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Transposition
2021
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| Online Access: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:transposition_5637 |
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openedition |
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openedition-oai:revues.org:transposition_5637 https://doi.org/10.4000/transposition.5637 urn:doi:10.4000/transposition.5637 en https://journals.openedition.org/transposition/5637 2021-04-20T02:00:00Z info:eu-repo/semantics/openAccess review info:eu-repo/semantics/review urn:handle:20.500.13089/lmgq https://creativecommons.org/licenses/by-sa/4.0/ Hilde Roos, The La Traviata Affair: Opera in the Age of Apartheid Musical performance can rarely be divorced from the political situation or cultural context in which it finds itself. There are, of course, countless occasions where musical performance has been wielded as if a political tool; a vehicle intended to help establish group identities and carry messages from the people to those in power. Political institutions throughout the ages have taken similar advantage of music’s power to unite, convince, and propagate ideas by controlling state-sanctioned ... Transposition Éditions de l’EHESS info:eu-repo/semantics/reference/issn/2110-6134 URI:https://journals.openedition.org/transposition Quilliam, Megan |
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OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| description |
Musical performance can rarely be divorced from the political situation or cultural context in which it finds itself. There are, of course, countless occasions where musical performance has been wielded as if a political tool; a vehicle intended to help establish group identities and carry messages from the people to those in power. Political institutions throughout the ages have taken similar advantage of music’s power to unite, convince, and propagate ideas by controlling state-sanctioned ... |
| author |
Quilliam, Megan |
| spellingShingle |
Quilliam, Megan Hilde Roos, The La Traviata Affair: Opera in the Age of Apartheid |
| author_facet |
Quilliam, Megan |
| author_sort |
Quilliam, Megan |
| title |
Hilde Roos, The La Traviata Affair: Opera in the Age of Apartheid |
| title_short |
Hilde Roos, The La Traviata Affair: Opera in the Age of Apartheid |
| title_full |
Hilde Roos, The La Traviata Affair: Opera in the Age of Apartheid |
| title_fullStr |
Hilde Roos, The La Traviata Affair: Opera in the Age of Apartheid |
| title_full_unstemmed |
Hilde Roos, The La Traviata Affair: Opera in the Age of Apartheid |
| title_sort |
hilde roos, the la traviata affair: opera in the age of apartheid |
| publisher |
Transposition |
| publishDate |
2021 |
| container_title |
URI:https://journals.openedition.org/transposition |
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https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/transposition.5637 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/transposition/5637 |
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