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

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


Whether you're “in the business,” otherwise you are a track theorist, musicologist, or just an opera fan—read on! this can be an analytical monograph through a Schenkerian tune theorist, however it can also be written by way of one performer and fanatic for another. Tonality as Drama attracts at the fields of dramaturgy, song concept, and historic musicology to respond to a basic query relating to twentieth-century track: why does using tonality persist in opera, even after it's been deserted in different genres? Combining the analytical techniques of the prime song and dramatic theorists of the 20 th century—Austrian tune theorist Heinrich Schenker (1868-1935) and Russian director Constantin Stanislavsky (1863-1938)—Edward D. Latham finds insights into works by means of Scott Joplin, George Gershwin, Kurt Weill, and Aaron Copland which are appropriate to analysts, opera administrators, and performers alike.

Tonality as Drama isn't a textbook—rather, it's an cutting edge analytical examine intended to motivate adjustments within the research and function of tonal opera. by means of utilising Schenker’s tonal analytical strategy to a small section (early twentieth-century American opera) of a repertoire normally considered as non-tonal (modern opera), Latham finds a strategic use of tonality in that repertoire as a way of amplifying or undercutting the good fortune or failure of dramatic characters. This use of “strategic tonality” is found in the various grand operas and tune cycles of the 19th century in addition, suggesting avenues for destiny research.

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