Access the full text.
Sign up today, get DeepDyve free for 14 days.
References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.
<jats:p> Herbert Lindenberger regards the modern canon as “not quite opera” in its resistance to the theatricality of traditional opera, its forays into popular musical forms, and its use of imitation and parody to quote opera of the past. In his view, modern opera divides itself into two kinds: the “hard” and the “soft.” Lindenberger goes on to consider the question of postmodern opera, but he is less persuaded now than he was previously that this is a useful term, especially given the extent to which one can find so-called “postmodern” elements in “modernist” operas. </jats:p>
Modernist Cultures – Edinburgh University Press
Published: Oct 1, 2007
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.