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PDFMedieval Romance and Wagner's Musical Narrative in the Ringhttps://jpehs.co.uk/wp-content/uploads/2012/05/screen-shot-2012-05-17-at-15-59-07.pngFull-text PDFMedieval Interlace and Wagner's Musical Narrative in the Ring2012-05-17T14:28:52+00:00weekly0.6https://jpehs.co.uk/introduction/publications/being-with-grimes-the-problem-of-others-in-brittens-first-opera/https://jpehs.co.uk/wp-content/uploads/2012/05/ex-6_0002.pngex. 6_0002Ex. 17.6 Britten, Peter Grimes, Act 2, fig. 51 (Grimes’s mad scene) (concluded)https://jpehs.co.uk/wp-content/uploads/2012/05/ex-6_0001.pngex. 6_0001Ex. 17.6 Britten, Peter Grimes, Act 2, fig. 51 (Grimes’s mad scene)https://jpehs.co.uk/wp-content/uploads/2012/05/ex-5.pngex. 5Ex. 17.5 Britten, Peter Grimes, Act 2, fig. 45https://jpehs.co.uk/wp-content/uploads/2012/05/ex-4_0003.pngEx. 4_0003Ex. 17.4 Adès, The Tempest, Act 1, fig. 90 (Ariel’s aria) (concluded)https://jpehs.co.uk/wp-content/uploads/2012/05/ex-4_0002.pngEx. 4_0002Ex. 17.4 Adès, The Tempest, Act 1, fig. 90 (Ariel’s aria) (continued)https://jpehs.co.uk/wp-content/uploads/2012/05/ex-4_0001.pngEx. 4_0001Ex. 17.4 Adès, The Tempest, Act 1, fig. 90 (Ariel’s aria)https://jpehs.co.uk/wp-content/uploads/2012/05/ex-3.pngEx. 3Ex. 17.3 Britten, Peter Grimes, Act 1, fig. 76 (the ‘Great Bear’ soliloquy)https://jpehs.co.uk/wp-content/uploads/2012/05/ex-2.pngEx. 2Ex. 17.2 Britten, Peter Grimes, Act 1, end of Prologuehttps://jpehs.co.uk/wp-content/uploads/2012/05/ex-1.pngex. 1Ex. 17.1 Britten, Peter Grimes, Act 2, fig. 17 (Grimes’s ‘self-sentencing’)2012-05-15T13:39:26+00:00weekly0.6https://jpehs.co.uk/introduction/publications/brittens-opera-about-rape/https://jpehs.co.uk/wp-content/uploads/2012/05/ex5.pngEx. 5Ex. 5: The Rape of Lucretia, Act II, B–C resolution, 'It is not all'https://jpehs.co.uk/wp-content/uploads/2012/05/ex4.pngEx. 4Ex. 4: The Rape of Lucretia, Act II, analytical sketchhttps://jpehs.co.uk/wp-content/uploads/2012/05/ex3.pngEx. 3Ex. 3: The Rape of Lucretia, Lucretia sleeping, 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