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Multiplot forms as described by Garrett (1980) provide a promising route of approach for analysts addressing complex musical works. Although originally developed from a study of Victorian fiction, these forms can also illuminate music, particularly when paired with Booker's (2006) list of seven basic plot types. In this article, I present a model analysis of multiplot musical narrative through an analysis of the finale of Beethoven's Piano Sonata in A-flat major, op. 110, as well as two other Beethoven works: the “Cavatina” from the String Quartet in B-flat major, op. 130, and the slow movement of the Fifth Symphony.

Well-known for leading audiences to a new appreciation of Verdi as a subtle and elaborate musical thinker, Pierluigi Petrobelli here turns his attention to the intriguing question of how musical theater works. In this collection of lively, penetrating essays, Petrobelli analyzes specific operas, mainly by Verdi, in terms of historical context, musical organization, and dramaturgical conventions. Originally published in 1995. ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide \"sheer\" pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the \"merely entertaining\" frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions. Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discussesCos\" fan tutteas a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries.

The deadline was 3.15am if Lisson was to beat defending race winner Eamon Crosbie of the National Yacht Club on board Teng Tools, the diminutive 32-footer that had defeated some of the most powerful ocean racing yachts when it it turn crossed the finishing line shortly after nine o'clock yesterday morning.