There is a long history of debate over what opera is. Since it's more or less formal beginning in the sixteenth century as a reconstruction of ancient drama, opera as an art form has been controversial. The received understanding--emphasized by the genre's founders and in periodic efforts at reforming the standards of composition and…

Shows how qualities of M. Sendak's works make it adaptable to the stage, using such works as "Where the Wild Things Are" and "Higglety Pigglety Pop!" as examples. (EL)

Composer Jack Beeson discusses the distinctively American themes and music of his operas and comments on opera composition in general, matters of style, and the televising of opera. This article is part of a theme issue on opera. (SJL)

In the context of debates on place, space, and identity in a period of globalisation, this article asks whether collaborative arts projects are a means to identity formation for participants. This is of interest, not least, because such projects are outside consumption, the latter more often discussed in work on identity in sociology. Situated…

Discusses relating literature to drama and music in order to achieve an integrated language arts curriculum. (HTH)

To succeed in today's competitive opera world, a singer needs--in addition to a good voice--personality, acting ability, good appearance, musicianship, language facility, versatility, and experience. Especially important are sight reading skills, care of the voice, and the ability to express emotion. Part of a theme issue on opera. (Author/SJL)

The world of classical music, says the writer, has always been international, and has now become truly global. Opera is perhaps traditionally, and most conspicuously, global. At any performance of the Metropolitan Opera of New York, for example, one encounters several different nationalities on stage, back stage, and in the orchestra pit. But the…

The author describes the evolution of the American musical since 1750 and emphasizes the often overlooked importance of the orchestrator. She discusses the talents of several extraordinarily gifted musicians. (KC)

It has previously been shown that an opera can successfully be integrated into a high school or college language class. It is suggested that an entire semester could be devoted to just French operas and French art, using corresponding literary texts for comparative purposes. Grammar points are included as needed; conversation about the stories…

Included in this set of proceedings are a keynote address on the state of the art of cable television and the future of the television economy by Les Brown, editor-in-chief of "Channels" magazine; panel discussions on the structure of the cable television industry; the potential market for cable television arts programming; the birth and…

The author criticizes the institutons of opera education by delineating the inadequate performance skills often found in their graduates. He makes suggestions for change in opera training systems and professional standards. Part of a theme issue on opera. (SJL)

The controlling strategies of neo-liberalism, designed to constitute academics as economic units supporting the designs of government, are contrasted here with the creative and transgressive elements of a more Deleuzian approach to writing that opens things up, that brings thought to life, that makes the familiar, predictable order tremble. The…

Argues that comprehensive arts education includes multiple art forms learning, skills development, critical analysis, historic context, and expression opportunities. Its future may be in partnerships between arts educators and arts institutions. Examines past and current partnership successes and concludes that partnerships can ensure future…

Describes using a "dialogue of disciplines", a teaching method which traces a particular theme across artistic disciplines, to present Shakespeare's play "Romeo and Juliet" in a comprehensive way. Suggests that exposing students to paintings, films, stage performances, and operas creates a multidimensional experience and…