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Previous studies of Wagner's operas have tended to approach the works as chunks of autobiography, philosophical speculations or historical-political comments on the age in which they were written. Professor Dahlhaus dissociates himself from all such ventures. His aim is to discover by careful analysis of the works from Der fliegende Holländer to Parsifal what are the dominant features of 'music drama' and how Wagner achieves such profound, unified...
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