Tonality as Drama: Closure and Interruption in Four Twentieth-Century American Operas
by Edward D. Latham
University of North Texas Press, 2008 eISBN: 978-1-57441-371-7 | Cloth: 978-1-57441-249-9 Library of Congress Classification MT95.L37 2008 Dewey Decimal Classification 782.10973
TOC | REQUEST ACCESSIBLE FILE
TABLE OF CONTENTS
Contents
List of Illustrations
Preface
Acknowledgments
Chapter 1. Tonality as Drama: An Introduction 1
Merging Tonal and Dramatic Analysis
The Permanent Interruption and the Multi-Movement Ursatz
Strategic Tonality in Four Post-Wagnerian Operas
Chapter 2. Dramatic Closure: the Stanislavsky System and the Attainment of Character Objectives
Scoring a Role
Sample Analyses: Griboyedov and Shakespeare
Stanislavsky and Schenker in the United States
Applying the System to the Analysis of Opera
Chapter 3 Tonal Closure: A Schenkerian Approach to Tonal Drama
Incorporating Dramatic Analysis
Chapter 4 The Completed Background Line with Open-Ended Coda:
Scott Joplin's "Grand Opera" Treemonisha (1911)
Synopsis
Scoring and Analyzing the Roles of
Zodzetrick and Treemonisha
Summary
Chapter 5 The Multi-Movement Anstieg or Initial Ascent:
George Gershwin's "Folk Opera" Porgy and Bess (1935)
Synopsis
Scoring and Analyzing the Roles of Porgy and Bess
Summary
Chapter 6 The Multi-Movement Initial Arpeggiation:
Kurt Weill's "Broadway Opera" Street Scene (1947)
Synopsis
Scoring and Analyzing the Roles of Sam and Rose
Summary
Chapter 7 The Prolonged Permanent Interruption:
Aaron Copland's "Operatic Tone Poem" The Tender Land (1954)
Synopsis
Scoring and Analyzing the Roles of Martin and Laurie
Summary
Notes
Bibliography
Index
REQUEST ACCESSIBLE FILE
If you are a student who cannot use this book in printed form, BiblioVault may be able to supply you
with an electronic file for alternative access.
Please have the accessibility coordinator at your school fill out this form.
Tonality as Drama: Closure and Interruption in Four Twentieth-Century American Operas
by Edward D. Latham
University of North Texas Press, 2008 eISBN: 978-1-57441-371-7 Cloth: 978-1-57441-249-9
TABLE OF CONTENTS
Contents
List of Illustrations
Preface
Acknowledgments
Chapter 1. Tonality as Drama: An Introduction 1
Merging Tonal and Dramatic Analysis
The Permanent Interruption and the Multi-Movement Ursatz
Strategic Tonality in Four Post-Wagnerian Operas
Chapter 2. Dramatic Closure: the Stanislavsky System and the Attainment of Character Objectives
Scoring a Role
Sample Analyses: Griboyedov and Shakespeare
Stanislavsky and Schenker in the United States
Applying the System to the Analysis of Opera
Chapter 3 Tonal Closure: A Schenkerian Approach to Tonal Drama
Incorporating Dramatic Analysis
Chapter 4 The Completed Background Line with Open-Ended Coda:
Scott Joplin's "Grand Opera" Treemonisha (1911)
Synopsis
Scoring and Analyzing the Roles of
Zodzetrick and Treemonisha
Summary
Chapter 5 The Multi-Movement Anstieg or Initial Ascent:
George Gershwin's "Folk Opera" Porgy and Bess (1935)
Synopsis
Scoring and Analyzing the Roles of Porgy and Bess
Summary
Chapter 6 The Multi-Movement Initial Arpeggiation:
Kurt Weill's "Broadway Opera" Street Scene (1947)
Synopsis
Scoring and Analyzing the Roles of Sam and Rose
Summary
Chapter 7 The Prolonged Permanent Interruption:
Aaron Copland's "Operatic Tone Poem" The Tender Land (1954)
Synopsis
Scoring and Analyzing the Roles of Martin and Laurie
Summary
Notes
Bibliography
Index
REQUEST ACCESSIBLE FILE
If you are a student who cannot use this book in printed form, BiblioVault may be able to supply you
with an electronic file for alternative access.
Please have the accessibility coordinator at your school fill out this form.