In this essay I explore the use of musical mimesis in the score for D. W. Griffith’s 1921 film Orphans of the Storm. I demonstrate that the score, created by Louis F. Gottschalk and William Frederick Peters, offers coherence through the use of central themes and the employment of several characteristic leitmotivs; provides recognizable musical c…[Read more]

This paper assesses nine prominent readings of the imperial context/content of Verdi’s ‘Aida’ and offers a new perspective more adequate to basic tensions in the work. Readings have ranged from the literal (imperial Europe here stages an archaeological “ancient Egypt”) to the metaphorical (“Egypt” here is any repressive government). Or–somew…[Read more]

This paper assesses nine prominent readings of the imperial context/content of Verdi’s ‘Aida’ and offers a new perspective more adequate to basic tensions in the work. Readings have ranged from the literal (imperial Europe here stages an archaeological “ancient Egypt”) to the metaphorical (“Egypt” here is any repressive government). Or–somew…[Read more]

This paper assesses nine prominent readings of the imperial context/content of Verdi’s ‘Aida’ and offers a new perspective more adequate to basic tensions in the work. Readings have ranged from the literal (imperial Europe here stages an archaeological “ancient Egypt”) to the metaphorical (“Egypt” here is any repressive government). Or–somew…[Read more]

This paper assesses nine prominent readings of the imperial context/content of Verdi’s ‘Aida’ and offers a new perspective more adequate to basic tensions in the work. Readings have ranged from the literal (imperial Europe here stages an archaeological “ancient Egypt”) to the metaphorical (“Egypt” here is any repressive government). Or–somew…[Read more]

Commentators often express disappointment that the music for the main characters in _Aida_ is not more distinctive, i.e., does not make much use of the exotic styles that mark the work’s ceremonial scenes and ballets. It has also been argued that exotic style-elements here are mostly confined to female, hence powerless, characters. Such…[Read more]

Commentators often express disappointment that the music for the main characters in _Aida_ is not more distinctive, i.e., does not make much use of the exotic styles that mark the work’s ceremonial scenes and ballets. It has also been argued that exotic style-elements here are mostly confined to female, hence powerless, characters. Such…[Read more]

Commentators often express disappointment that the music for the main characters in _Aida_ is not more distinctive, i.e., does not make much use of the exotic styles that mark the work’s ceremonial scenes and ballets. It has also been argued that exotic style-elements here are mostly confined to female, hence powerless, characters. Such…[Read more]

Commentators often express disappointment that the music for the main characters in _Aida_ is not more distinctive, i.e., does not make much use of the exotic styles that mark the work’s ceremonial scenes and ballets. It has also been argued that exotic style-elements here are mostly confined to female, hence powerless, characters. Such…[Read more]