1 resultado para Textual criticism
em Glasgow Theses Service
Filtro por publicador
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- AMS Tesi di Dottorato - Alm@DL - Università di Bologna (4)
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- CORA - Cork Open Research Archive - University College Cork - Ireland (3)
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- Repositório Científico do Instituto Politécnico de Lisboa - Portugal (1)
- Repositório Científico do Instituto Politécnico de Santarém - Portugal (1)
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- RUN (Repositório da Universidade Nova de Lisboa) - FCT (Faculdade de Cienecias e Technologia), Universidade Nova de Lisboa (UNL), Portugal (8)
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- School of Medicine, Washington University, United States (1)
- Universidad de Alicante (9)
- Universidad del Rosario, Colombia (2)
- Universidad Politécnica de Madrid (2)
- Universidade Complutense de Madrid (2)
- Universidade de Lisboa - Repositório Aberto (3)
- Universidade Federal do Pará (3)
- Universidade Federal do Rio Grande do Norte (UFRN) (19)
- Universitat de Girona, Spain (6)
- Université de Lausanne, Switzerland (5)
- Université de Montréal (1)
- Université de Montréal, Canada (10)
- University of Michigan (133)
- University of Queensland eSpace - Australia (12)
- University of Southampton, United Kingdom (1)
- University of Washington (1)
- WestminsterResearch - UK (2)
Resumo:
The internet is deeply integrated with many people's day to day lives, including that of musicians and musicologists. In this thesis, the impact of the internet on classical music criticism in the Web 2.0 age is examined. Using the examples of Britten's operas, Gloriana and Peter Grimes, an overview of their critical reception is examined, using printed reviews found in The Times since their premières, internet based reviews of two specific performances, and the reactions to these performances on Twitter. Theories of media behaviour including de Mul's view of the 'ludic self' are used in order to explain the content found in reviews in conjunction with citizen journalism, of which blogging is an extension. While there are some consistencies between the print reviews and those online, there are stylistic differences, and wider repercussions for the world of criticism in the wake of the democratisation of culture, as critics find their previously regarded authority obsolete to some. Music criticism is no longer the reserve of the musicologists