This book takes the position that the dynamic of the architectural environment is a key aspect of good design; yet one which is not well anticipated or understood. Environmental variety is a design characteristic closely related to our experience of architecture - an architecture of the senses. Each chapter demonstrates how an understanding of a particular context or environmental characteristic in dynamic terms informs design. The book is an antidote to the misconceptions of optimum environmental performance or fixed criteria; instead embracing the richness of environmental variety.
#3626911 in eBooks 2004-08-02 2004-08-02File Name: B000Q35WQS
Review
3 of 3 people found the following review helpful. The Why and Wherefore of "Authentic" Opera PerformancesBy ChoirbehrThis title of this book tells the reader exactly what to expect. It is part musicological discussionmdash;opera research; scholarship; and performing editionsmdash;and part current backstagehellip;well; I wonrsquo;t say gossip; buthellip;backstage insider information.One thing I take away from this book is a better understanding of why itrsquo;s so difficult to establish definitive; ldquo;authenticrdquo; versions of 19th century Italian opera (and others). Rossini; Bellini; Donizetti; and Verdi revised their operas pretty much every time they were associated with a performance. Music was adapted to the language and tastes of the audience (all of them did French and Italian operas); including the types of spectacle the audience expected (ballet in France) and the current trend in vocal ornamentation. Sometimes music was rewritten to accommodate a diva or divo. Sometimes; especially in Rossini; entire arias; choruses; or duets were given a new text; and subsequently; new orchestrations to reflect that text. All of these variants render the expression; ldquo;what the composer intendedrdquo; moot at best. At the very least; the lesson learned here is that a lot more qualification may be needed before the ldquo;composers intentrdquo; can be stated with authority (if at all).I was fascinated by Mr. Gossetts discussion of period versus modern instruments. When I think of period instruments; I think 18th century and earlier. But developments and advances in instrument building have always been going on; and the tone and capabilities; particularly of brass and winds; have changed considerably since the 19th century.Mr. Gossett also addresses the issues of transposition; and how transposing one aria up or down to meet the needs/limitations of a particular singer can affect the surrounding music. In order to illustrate varieties in ornamentation; changes music to accommodate new text; or changes in instrumentation; Mr. Gossett includes many musical examples; which I found a little difficult; reading on an older Kindle. An analog book might be the better way to go here; unless you have a Kindle Fire; or are reading on a PC.If your interests lean more towards the how than the why; Mr. Gossett shares a lot of backstage tidbits; too. He has worked closely with the great; and not so great; musicians of the 20th and 21st century to create and recreate opera performances that are as close to authentic as we can get. He names namesmdash;the good; the bad; and the unlistenablemdash;but he never really comes across as bitchy or unkind.Mr. Gossett writes about working with other scholars; conductors; singers and directors. All of his backstage stories are in the context of creating the best performance possible. In the final chapters; he relates the productions of Verdis Gustavo III; a "hypothetical reconstruction" of the original original version of Un ballo in maschera; and Rossinis Il viaggio a Reims; both in Scandinavia.Philip Gossett is an opera fan; a musician; a scholar; and the worlds leading authority on the performance of Italian opera. The only downside to this volume is the scholarly part may not be of great interest to the diva-followers; while the diva section may seem tedious to the scholarship fans. There may be a few sections you feel the need to skim through (some analysis gets pretty technical); but overall itrsquo;s a fascinating read; and it rewards re-reading; too.16 of 17 people found the following review helpful. A masterpiece of scholarship and a delight to readBy Robert Ginsberg"Divas Scholars" is a masterpiece from every possible perspective; and I am astonished that there are only 4 customer reviews ahead of mine. It is written in the liveliest; most personal style. Every chapter; every paragraph; every sentence is filled with fascinating information and insights. (The only book on music that I have ever read that is its equal is Charles Rosens universally acclaimed "Classical Style;" which was published 35 years ago. Rosen himself gave "Divas Scholars" a rave review in the New York Review of Books (10/05/06).) No one before Gossett has ever explained so clearly the conditions under which masterpieces by Rossini; Bellini; Donizetti; and Verdi were not merely created but nearly tossed off; in almost the manner one associates with live television in the 50s. No one else has ever explained so clearly what a first performance looked like and sounded like; the lighting; the gestures; the sound in a particular theater or particular instruments; and the particular text and ornamentation that a singer chose. No one else has ever shown in such specific detail how performance traditions (and music) were transmitted and how they changed over time and place. "Divas Scholars" can be read by everyone--the opera lover; the record listener; the stage designer; professional opera singers; orchestra musicians and conductors; and directors. It could be read by everyone who has ever loved Norma; Lucia; and all the other great figures of bel canto opera. It could be read by anyone with an interest in the social history of Europe in the first half of the nineteenth century. A summary of the delights of this book would be as long as the book itself. Five stars are not enough. It will be a resource and a pleasure forever.0 of 0 people found the following review helpful. Very informativeBy EthylEntertaining opera reference book by leading Rossini scholar.