{"title":"《各式各样的集合》","authors":"Alison DeSimone","doi":"10.3828/liverpool/9781942954774.003.0003","DOIUrl":null,"url":null,"abstract":"Chapter 2 argues that the pasticcio opera tradition, which began in 1706, represented an organized form of musical miscellany. Analyses of the pasticcio opera tradition from the perspective of musical miscellany reveal how these operas were compiled and the role that both performers and composers played in their creation.","PeriodicalId":311641,"journal":{"name":"The Power of Pastiche","volume":"137 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“An Assemblage of Every Kind”\",\"authors\":\"Alison DeSimone\",\"doi\":\"10.3828/liverpool/9781942954774.003.0003\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Chapter 2 argues that the pasticcio opera tradition, which began in 1706, represented an organized form of musical miscellany. Analyses of the pasticcio opera tradition from the perspective of musical miscellany reveal how these operas were compiled and the role that both performers and composers played in their creation.\",\"PeriodicalId\":311641,\"journal\":{\"name\":\"The Power of Pastiche\",\"volume\":\"137 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-05-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Power of Pastiche\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3828/liverpool/9781942954774.003.0003\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Power of Pastiche","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3828/liverpool/9781942954774.003.0003","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Chapter 2 argues that the pasticcio opera tradition, which began in 1706, represented an organized form of musical miscellany. Analyses of the pasticcio opera tradition from the perspective of musical miscellany reveal how these operas were compiled and the role that both performers and composers played in their creation.
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