Tonality as drama : closure and interruption in four twentieth-century American operas

Tonality as drama closure and interruption in four twentieth-century American operas

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?

Bibliographic Details
Main Author: Latham, Edward David (-)
Format: eBook
Language:Inglés
Published: Denton, Tex. : University of North Texas Press c2008.
Edition:1st ed
Subjects:
Joplin, Scott, > 1868-1917. > Treemonisha.
Weill, Kurt, > 1900-1950. > Street scene.
Gershwin, George, > 1898-1937. > Porgy and Bess.
Copland, Aaron, > 1900-1990. > Tender land.
Operas > Analysis, appreciation.
Opera > United States > 20th century.
See on Biblioteca Universitat Ramon Llull:https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009426076206719
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).

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