Tonality as Drama : Closure and Interruption in Four Twentieth-Century American Operas / / Edward D. Latham.
Drawing on the fields of dramaturgy, music theory, and historical musicology, this book answers a question about twentieth-century music: Why does tonality persist in opera, even after it has been abandoned in other genres?
Saved in:
| : | |
|---|---|
| Place / Publishing House: | Denton, Tex. : : University of North Texas Press,, 2008. ©2008. |
| Year of Publication: | 2008 |
| Edition: | 1st ed. |
| Language: | English |
| Physical Description: | 1 online resource (238 p.) |
| Notes: | Description based upon print version of record. |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
Table of Contents:
- Tonality as drama: an introduction
- Dramatic closure: the Stanislavsky system and the attainment of character objectives
- Tonal closure: a Schenkerian approach to tonal drama
- The completed background line with open-ended coda: Scott Joplin's grand opera Treemonisha (1911)
- The multi-movement Anstieg or initial ascent: George Gershwin's folk opera Porgy and Bess (1935)
- The multi-movement initial arpeggiation: Kurt Weill's Broadway opera Street scene (1947)
- The prolonged permanent interruption: Aaron Copland's operatic tone poem The tender land (1954).