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Tonality as Drama : Closure and Interruption in Four Twentieth-Century American Operas

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This is an analytical monograph by a Schenkerian music theorist, but it is also written by one performer and enthusiast for another. Tonality as Drama draws on the fields of dramaturgy, music theory, and historical musicology to answer a fundamental question regarding twentieth-century music: why does the use of tonality persist in opera, even after it has been abandoned in other genres? Combining the analytical approaches of the leading music and dramatic theorists of the twentieth century— Austrian music theorist Heinrich Schenker (1868–1935) and Russian director Constantin Stanislavsky (1863–1938)— Edward D. Latham reveals insights into works by Scott Joplin, George Gershwin, Kurt Weill, and Aaron Copland that are relevant to analysts, opera directors, and performers alike. Latham reveals a strategic use of tonality in that repertoire as a means of amplifying or undercutting the success or failure of dramatic characters.

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Series Title

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Call Number

700 LAT t

Publisher

Denton : UNT Press., 2008

Collation

224 halaman

Language

English

ISBN/ISSN

9781574412499

Classification

700

Content Type

text

Media Type

computer

Carrier Type

online resource

Edition

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Subject(s)

Music-Opera

Specific Detail Info

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Statement of Responsibility

Edward D. Latham

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Firli

Source

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Validator

maya

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