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Metaphysical Song


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Table of Contents

PrefaceIVoices of the Invisible3IILate Renaissance Opera9Excursus 1: A Cosmos of Apollinian Harmony28IIIEarly Modern Opera34Excursus 2: The Borders of Theatrical Space68IVModern Opera73Excursus 3: Noumenal Themes104Excursus 4: Composing Schopenhauer107VNietzsche: Overcoming Operatic Metaphysics109VIGhosts in the Machine127Excursus 5: Mechanical Reproduction of Opera143Excursus 6: Film Fantasy, Endgame of Wagnerism145VIIThe Sum of Modernity147Notes157Index181

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A fascinating and sensitive study of how philosophers have probed the problem of subjectivity through the passage of the operatic voice. Tomlinson's work is notable for the way it combines a thorough knowledge of the history of music and opera with an understanding of contemporary problems of theory and methodology. -- Lydia Goehr, Columbia University This extraordinary book offers us an 'alternative story' of the history of opera... [It] will have an important ... effect on the way we think about opera. -- Roger Parker, Oxford University

About the Author

Gary Tomlinson is Annenberg Professor in the Humanities at the University of Pennsylvania and has held Guggenheim and MacArthur fellowships. His books include Monteverdi and the End of the Renaissance and Music in Renaissance Magic: Toward a Historiography of Others.


"A well-written, wide-ranging, and thought-provoking look at opera. Highly recommended."--Library Journal (starred review) "There is much in this book for philosophers and opera lovers to enjoy, to reflect on, and to disagree with."--The Review of Metaphysics

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