Isbn: 9780801485893 - osmin's rage: philosophical reflections on opera, drama, and text with a new final chapter (9 Ergebnisse)

Paperback. Zustand: Very Good. Paperback. Pages are clean and unmarked. Covers show very minor shelving wear.; 100% Satisfaction Guaranteed! Ships same or next business day.

paperback. Zustand: Very Good. Condition Notes: Clean, unmarked copy with some edge wear. Good binding. Dust jacket included if issued with one. We ship in recyclable American-made mailers. 100% money-back guarantee on all orders.

paperback. Zustand: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Ex library copy with usual stamps & stickers.…

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In English.

Zustand: New. Num Pages: 336 pages, 6. BIC Classification: AVA; AVGC9; HPN. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 225 x 150 x 22. Weight in Grams: 464. . 1999. 2nd Revised edition. Paperback. . . . . Books ship from the US and Ireland.…

Paperback. Zustand: Brand New. subsequent edition. 317 pages. 9.00x6.00x0.75 inches. In Stock.

Taschenbuch. Zustand: Neu. Neuware - In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical -- as opposed to a dramatic -- necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners axe attuned to its seventeenth and eighteenth-century forebears.…

Kartoniert / Broschiert. Zustand: New. In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical-as opposed to a dramatic-necessity for opera during.