Papers by Katherine Preston
Oxford University Press eBooks, Nov 23, 2017
This chapter commences with the Panic of 1873 and its profound impact on operatic production in 1... more This chapter commences with the Panic of 1873 and its profound impact on operatic production in 1870s America. The failure of Italian- and German-language troupes facilitated the triumph of grand opera in the vernacular—especially the company of Louise Kellogg, which enjoyed extraordinary success during the worst years of the Long Deprecession. Comic opera (including operetta, light opera, and opera bouffe) was important during the period, as were the activities of several pivotal performer/managers (Emily Soldene, Sallie Holman, Alice Oates). Italian- and German-language activity during the late 1870s–1880s and the generally unsettled operatic times of the mid-1880s are covered. During this period German-language opera and its associated principle of cultural uplift first challenged and ultimately replaced Italian-language opera (temporarily) in the American foreign-language market. The chapter ends with the explosion of vernacular-opera activity in the 1880s and the enthusiasm of Americans for all types of opera performed in English.
Journal of the American Musicological Society, 2020
New Books in Music is public musicology writ large. A remarkably successful tool for disseminatin... more New Books in Music is public musicology writ large. A remarkably successful tool for disseminating music scholarship to academics, students, and (in particular) the general public, it is one component, or "channel," of the New Books Network (NBN), 1 an online library of podcast interviews with nonfiction authors that is available free to anyone with an Internet connection. The network consists of ninety channels organized in five different categories: Arts & Letters, People & Places, Politics & Society, Religion & Faith, and Science & Tech. New Books in Music is located in the first of these, together with fourteen other channels that cover a wide range of topics, including Architecture, Folklore, Film, Literary Studies, Literature, Art, Photography, and Popular Culture. The NBN is the brainchild of Marshall Poe, a historian of early Russia. In the 1990s and early 2000s, Poe-although the author of numerous print publications-became increasingly disenchanted with print as the predominant means of sharing scholarship. Many scholarly books are full of fascinating information and insights, he argued, but are virtually unknown outside academia because they are marketed almost exclusively to university libraries and to a small niche of like-minded scholars. He believed that inquisitive members of the general public would be interested in such books if a new means of dissemination could be created. 2 Around this time, Poe was exploring how new media systems shape social practices and values, research that convinced him that the average twenty-first-century person much prefers listening to reading. 3 So he began to consider blogs and websites as new means of distributing scholarship. As an experiment, in 2007 he created the online New Books in History Network to host a series of "radio shows" (interviews, or "episodes") with historians about their recent monographs. The episodes are not reviews of books, but rather an opportunity for authors to describe the most important ideas in their work, as well as the ways in which their research fits with other
Oxford University Press eBooks, Jul 25, 2013
Oxford University Press eBooks, 2001
Oxford University Press eBooks, 2001
Oxford University Press eBooks, 2002
Oxford University Press eBooks, 2002
Oxford University Press eBooks, Feb 24, 2010
American National Biography Online, 2000
Bristow served as a church organist and choir director for most of his professional life, in almo... more Bristow served as a church organist and choir director for most of his professional life, in almost a dozen different churches (1840s-1890s). The type of music performed in churches on holy days is readily available; what was heard on regular Sundays is mostly unknown. A 1906 publication about music at Manhattan’s Trinity Church, however, is instructive about both types of services. Bristow programmed compositions by both European and American composers, especially on holy days; this indicates his continued support for fellow composers. He wrote numerous sacred works for organ (interludes, voluntaries, various pieces) and voice (anthems, sentences, services, hymns, songs, offertories, and oratorios).
Oxford Scholarship Online, 2017
This chapter is a summary of opera production in America from the end of the 1850s, through the C... more This chapter is a summary of opera production in America from the end of the 1850s, through the Civil War, and into the halcyon postwar period. The beginning of the opera bouffe craze and the activities of light and grand opera companies are examined within the context of the successful foreign-language troupes during and after the war. American soprano Clara Louise Kellogg exemplifies a successful American prima donna who later became the manager of her own English-language company; during these years, however, she sang in Max Maretzek’s Italian-language ensemble. The operatic activity of this chapter is set against the background of a turbulent period of American social and cultural history; the narrative ends just prior to the Panic of 1873.
Oxford Music Online, 2001
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Papers by Katherine Preston