The Oxford handbook of the operatic canon
- Submitting institution
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Guildhall School of Music & Drama
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- NEWCORE
- Type
- B - Edited book
- DOI
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- Publisher
- Oxford University Press
- ISBN
- 9780190224202
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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25
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- This volume is the main output of “The operatic canon”, a project that aimed to fill a gap: amid increasing interest in canonic discourses in the arts generally over the last couple of generations, relatively little attention has been given to opera. It was supported by the AHRC under its Research Networking scheme (PI Newark, International Co-I in the US Weber, other participants based in the UK, the US, Canada, Ireland, France, Italy, Germany, Denmark, and the Netherlands).
The research process for the volume as a whole consisted in
- conceiving the research questions and designing the project (both outlined in the editor’s General Introduction) in order to win the funding;
- selecting contributors and invited participants/facilitators for their range of expertise (across key periods and geographical centres) and disciplinary and institutional perspectives;
- chairing network discussions at the London workshop (Guildhall School of Music & Drama 2015);
- conceiving and implementing the conceptual framework (including the dialogue/’pair’ structure of both the break-out sessions and the eventual volume);
- surveying the field for the Introduction and organising discussion with further interlocutors at international conferences (notably the American Musicological Society in 2016);
- engaging in a thorough process of peer review (internally, between the co-editors and the contributors, and externally, with anonymous readers), developing the dialogues within the chapter-pairs, triangulating editing across and between chapters, and overseeing and correcting translations (in Newark’s case from Italian and French).
As with the other contributors, the research process for Newark’s own chapter grew out of the London workshop: in the context of the project’s interrogation of different meanings of ‘canon’ in various operatic historical milieux, it singled out Alberto Banti’s particularly suggestive one, to describe the special status of a small group of works of art, including operas by Verdi, during the Risorgimento.
- Author contribution statement
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- Non-English
- No
- English abstract
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