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Among the core cultural rights, outlined in the International Bill of Human Rights, are the rights to education, to participate in cultural life, to benefit from science and its products, and author’s rights. These rights promote cultural and scientific creativity. They also enable the pursuit of knowledge and understanding, thereby working as atrocity prevention tools. […]
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Ever since I developed a passion for French music and started working on Berlioz and then Bizet, I was constantly aware of the formidable figure of Saint-Saëns at the end of the nineteenth century, contributing to every branch of music and regularly heard in concert halls and, thanks to Samson et Dalila, in opera houses […]
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Shakespeare scholar Heather Hirschfeld, author of the brand new introduction to the New Cambridge Shakespeare Hamlet (third edition), reflects on what it means for modern audiences to encounter the play for the first time.
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Cambridge University Press is delighted to announce the appointment of Alejandro L. Madrid as co-editor of Twentieth-Century Music, joining co-editor Pauline Fairclough from January 2019. Since 2013, Alejandro has been professor of musicology and ethnomusicology at Cornell University’s Department of Music; before that, he was in the faculty of the Latino and Latin American Studies […]
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‘Have you ever been in a car crash? Unfortunately, unlike the car crash, time will not slow down for us. If anything, we’re accelerating toward disaster’[1] It was the question of whether or not an erect penis was seen on stage that marked, in many respects, where this period began. The transition from the furore […]
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After much hard work and years of lawsuits and other complaints, the United States Congress seems destined finally to update music’s copyright law. The Music Modernization Act passed unanimously in the Senate on September 18 and, having won consent in a similar form from the House of Representatives, is likely to become law in short […]
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The opera house is one of the most successful new building types of modern times. Found all over the world, opera houses usually have three major features: private boxes stacked vertically around an open, central space; an orchestra pit; and a deep stage to hold elaborate scenery. Each of these features has its own history. […]
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The magnificent collection of Samuel Beckett’s manuscripts, notebooks, letters and other material held here at Reading was fundamental to the research for my new book Samuel Beckett and the Visual Arts, which has just come out from Cambridge University Press. To take one example, I vividly remember, early on, calling up a tattered old jotter. […]
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