A third cause is the reality that “internationalism” had introduced contemporary Italian opera to a state where it was now not “Italian”. This was the opinion of a minimal of one outstanding Italian musicologist and critic, Fausto Terrefranca, who, in a 1912 pamphlet entitled Giaccomo Puccini and International Opera, accused Puccini of “commercialism” and of having deserted Italian traditions. Traditional Romantic opera remained popular; indeed, the dominant opera writer within the early twentieth century was Casa Ricordi, which centered nearly solely on popular operas until the Thirties, when the company allowed extra unusual composers with less mainstream attraction.
The benefit is only slight because the question of how and why we respond emotionally to fictions is itself a philosophical drawback of some magnitude. Nonetheless, there are a number of theories out there (see the supplement to the entry on creativeness, ยง2). One difficulty with interesting to a solution to the paradox of fiction is that it isn’t clear that our emotional responses to the expressiveness of music are the same webpage as those to emotionally expressive characters. For occasion, the standard example of an emotional response to music is being made sad by a dirge, whereas the usual example of emotional response to fiction is to really feel pity for a sad character. If the previous is to be defined in the identical method because the latter, we’d count on listeners to feelpity in response to the funeral march .