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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Tonality as Drama

Tonality as Drama

Latham

Hardcover

General DramaOperaMusic Reference

ISBN10: 1574412493
ISBN13: 9781574412499
Publisher: Univ Of North Texas Pr
Published: Aug 12 2008
Pages: 240
Weight: 1.12
Height: 0.69 Width: 6.00 Depth: 9.00
Language: English
Whether you are in the business, or you are a music theorist, musicologist, or simply an opera fan--read on! 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.

Tonality as Drama is not a textbook--rather, it is an innovative analytical study meant to inspire changes in the study and performance of tonal opera. By applying Schenker's tonal analytical technique to a small segment (early twentieth-century American opera) of a repertoire typically regarded as non-tonal (modern opera), Latham reveals a strategic use of tonality in that repertoire as a means of amplifying or undercutting the success or failure of dramatic characters. This use of strategic tonality is present in many of the grand operas and song cycles of the nineteenth century as well, suggesting avenues for future research.

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