Tonality as drama: closure and interruption in four twentieth-century American operas
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Denton, Tex.
Univ. of North Texas Press
2008
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XV, 221 S. Notenbeisp. |
| ISBN: | 9781574412499 |
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| adam_text | Contents
List of Illustrations
vii
Preface
x
Acknowledgments
xv
Chapter
1
Tonality as Drama: An Introduction
1
Merging Tonal and Dramatic Analysis
2
The Permanent Interruption and the
Multi-Movement Ursatz
4
Strategic Tonality in Four Post-Wagnerian Operas
8
Chapter
2
Dramatic Closure: the Stanislavsky System
and the Attainment of Character Obj ectives
19
Scoring a Role
27
Sample Analyses: Griboyedov and Shakespeare
31
Stanislavsky and
Schenker in
the United States
37
Applying the System to the Analysis of Opera
42
Chapter
3
Tonal Closure: A Schenkerian Approach
to Tonal Drama
54
Incorporating Dramatic Analysis
58
Chapter
4
The Completed Background Line with
Open-Ended Coda: Scott Joplin s
Grand Opera Treemonisha
(1911) 69
Synopsis
74
Scoring and Analyzing the Roles of
Zodzetrick and Treemonisha
75
Summary
91
I vl
Contents
Chapter
5
The Multi-Movement
Anstieg
or Initial Ascent:
George Gershwin s Folk Opera
Porgy and Bess
(1935)
95
Synopsis
102
Scoring and Analyzing the Roles of
Porgy and Bess
104
Summary
133
Chapter
6
The Multi-Movement Initial Arpeggiation:
Kurt Weill s Broadway Opera
Street Scene
(1947)
139
Synopsis
146
Scoring and Analyzing the Roles of
Sam and Rose
147
Summary
159
Chapter
7
The Prolonged Permanent Interruption:
Aaron Copland s Operatic Tone Poem
The Tender Land
(1954)
165
Synopsis
169
Scoring and Analyzing the
Roles of Martin and Laurie
171
Summary
187
Bibliography
193
Index
211
II· vi II
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 anoth¬
er. Tonality as Drama draws on the fields
of dramaturgy, music theory, and histori¬
cal 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 twen¬
tieth century
—
Austrian music theorist
Heinrich
Schenker
(1868-1935)
and
Russian director
Konstantin
Stanislavsky
(1863-1938)—
Edward D. Latham re¬
veals 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 tonal¬
ity in that repertoire as a means of am¬
plifying 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.
EDWARD D.
LATHAM was born in
Lowell, Massachusetts, and attended
Phillips Academy and Yale University,
where he received his PhD in
2000.
He has lived and worked in New
Hampshire, Connecticut, and Minnesota,
and is currently assistant professor of
music theory at Temple University s
Boyer College of Music and Dance in
Philadelphia, where he was the recipient
of the
2007
Teaching Academy Award
for excellence in teaching. In addition
to teaching and writing about music, Dr.
Latham is active as a professional singer
and church musician.
Tonality as Drama
Closure and Interruption
in Four Twentieth-Century American Operas
Edward D. Latham
In Tonality as Drama Edward Latham effects an improbable, but
productive, marriage between the Russian director and drama
pedagogue
Konstantin
Stanislavsky, and the Viennese music theo¬
rist
Heinrich Schenker, an
almost exact contemporary,
lhe
result
is an original and intriguing method of analyzing and interpreting
roles in opera, both musically and dramatically. Lathams analyses
of roles in Joplins Treemonisha, Gershwin s Porgy and Bess, Weill
s
Street Scene, and Copland s The Tender Land coordinate dramatic
and musical theory in engaging and fresh new readings.
—
Prof. Patrick McCreless,
Music Theory, Yale University
Latham s boldest idea is that a dramatic analysis of character
roles along the lines of what
Konstantin
Stanislavsky proposed
may be merged with a musical analysis along the lines of what
Heinrich
Schenker
proposed. His analyses are well formed,
interesting, and insightful; and his application of both method¬
ologies is thorough and convincing.
—
Andrew
Davis,
director of graduate studies,
Moores
School of Music, University of Houston
|
| adam_txt |
Contents
List of Illustrations
vii
Preface
x
Acknowledgments
xv
Chapter
1
Tonality as Drama: An Introduction
1
Merging Tonal and Dramatic Analysis
2
The Permanent Interruption and the
Multi-Movement Ursatz
4
Strategic Tonality in Four Post-Wagnerian Operas
8
Chapter
2
Dramatic Closure: the Stanislavsky System
and the Attainment of Character Obj ectives
19
Scoring a Role
27
Sample Analyses: Griboyedov and Shakespeare
31
Stanislavsky and
Schenker in
the United States
37
Applying the System to the Analysis of Opera
42
Chapter
3
Tonal Closure: A Schenkerian Approach
to Tonal Drama
54
Incorporating Dramatic Analysis
58
Chapter
4
The Completed Background Line with
Open-Ended Coda: Scott Joplin's
"Grand Opera" Treemonisha
(1911) 69
Synopsis
74
Scoring and Analyzing the Roles of
Zodzetrick and Treemonisha
75
Summary
91
I'vl
Contents
Chapter
5
The Multi-Movement
Anstieg
or Initial Ascent:
George Gershwin's "Folk Opera"
Porgy and Bess
(1935)
95
Synopsis
102
Scoring and Analyzing the Roles of
Porgy and Bess
104
Summary
133
Chapter
6
The Multi-Movement Initial Arpeggiation:
Kurt Weill's "Broadway Opera"
Street Scene
(1947)
139
Synopsis
146
Scoring and Analyzing the Roles of
Sam and Rose
147
Summary
159
Chapter
7
The Prolonged Permanent Interruption:
Aaron Copland's 'Operatic Tone Poem"
The Tender Land
(1954)
165
Synopsis
169
Scoring and Analyzing the
Roles of Martin and Laurie
171
Summary
187
Bibliography
193
Index
211
II· vi 'II
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 anoth¬
er. Tonality as Drama draws on the fields
of dramaturgy, music theory, and histori¬
cal 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 twen¬
tieth century
—
Austrian music theorist
Heinrich
Schenker
(1868-1935)
and
Russian director
Konstantin
Stanislavsky
(1863-1938)—
Edward D. Latham re¬
veals 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 tonal¬
ity in that repertoire as a means of am¬
plifying 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.
EDWARD D.
LATHAM was born in
Lowell, Massachusetts, and attended
Phillips Academy and Yale University,
where he received his PhD in
2000.
He has lived and worked in New
Hampshire, Connecticut, and Minnesota,
and is currently assistant professor of
music theory at Temple University's
Boyer College of Music and Dance in
Philadelphia, where he was the recipient
of the
2007
Teaching Academy Award
for excellence in teaching. In addition
to teaching and writing about music, Dr.
Latham is active as a professional singer
and church musician.
Tonality as Drama
Closure and Interruption
in Four Twentieth-Century American Operas
Edward D. Latham
"In Tonality as Drama Edward Latham effects an improbable, but
productive, marriage between the Russian director and drama
pedagogue
Konstantin
Stanislavsky, and the Viennese music theo¬
rist
Heinrich Schenker, an
almost exact contemporary,
lhe
result
is an original and intriguing method of analyzing and interpreting
roles in opera, both musically and dramatically. Lathams analyses
of roles in Joplins Treemonisha, Gershwin's Porgy and Bess, Weill
s
Street Scene, and Copland's The Tender Land coordinate dramatic
and musical theory in engaging and fresh new readings."
—
Prof. Patrick McCreless,
Music Theory, Yale University
"Latham's boldest idea is that a dramatic analysis of character
roles along the lines of what
Konstantin
Stanislavsky proposed
may be merged with a musical analysis along the lines of what
Heinrich
Schenker
proposed. His analyses are well formed,
interesting, and insightful; and his application of both method¬
ologies is thorough and convincing."
—
Andrew
Davis,
director of graduate studies,
Moores
School of Music, University of Houston |
| any_adam_object | 1 |
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| geographic | USA USA (DE-588)4078704-7 gnd |
| geographic_facet | USA |
| id | DE-604.BV023309525 |
| illustrated | Illustrated |
| index_date | 2024-07-02T20:49:44Z |
| indexdate | 2024-07-09T21:15:32Z |
| institution | BVB |
| isbn | 9781574412499 |
| language | English |
| lccn | 2008013679 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016493819 |
| oclc_num | 220098192 |
| open_access_boolean | |
| owner | DE-12 DE-703 |
| owner_facet | DE-12 DE-703 |
| physical | XV, 221 S. Notenbeisp. |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Univ. of North Texas Press |
| record_format | marc |
| spelling | Latham, Edward David Verfasser (DE-588)136986803 aut Tonality as drama closure and interruption in four twentieth-century American operas Edward D. Latham Denton, Tex. Univ. of North Texas Press 2008 XV, 221 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Joplin, Scott 1868-1917 Treemonisha Weill, Kurt 1900-1950 Street scene Gershwin, George 1898-1937 Porgy and Bess Copland, Aaron 1900-1990 Tender land Copland, Aaron <1900-1990> Tender land Gershwin, George <1898-1937> Porgy and Bess Joplin, Scott <1868-1917> Treemonisha Weill, Kurt <1900-1950> Street scene Joplin, Scott 1868-1917 Treemonisha (DE-588)7657299-7 gnd rswk-swf Copland, Aaron 1900-1990 The tender land (DE-588)4470425-2 gnd rswk-swf Gershwin, George 1898-1937 Porgy and Bess (DE-588)300057946 gnd rswk-swf Weill, Kurt 1900-1950 Street scene (DE-588)7591877-8 gnd rswk-swf Geschichte 1900-2000 Geschichte 1900-2000 gnd rswk-swf Operas Analysis, appreciation Opera United States 20th century Oper (DE-588)4043582-9 gnd rswk-swf USA USA (DE-588)4078704-7 gnd rswk-swf Joplin, Scott 1868-1917 Treemonisha (DE-588)7657299-7 u Weill, Kurt 1900-1950 Street scene (DE-588)7591877-8 u Gershwin, George 1898-1937 Porgy and Bess (DE-588)300057946 u Copland, Aaron 1900-1990 The tender land (DE-588)4470425-2 u DE-604 USA (DE-588)4078704-7 g Oper (DE-588)4043582-9 s Geschichte 1900-2000 z Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016493819&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016493819&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Latham, Edward David Tonality as drama closure and interruption in four twentieth-century American operas Joplin, Scott 1868-1917 Treemonisha Weill, Kurt 1900-1950 Street scene Gershwin, George 1898-1937 Porgy and Bess Copland, Aaron 1900-1990 Tender land Copland, Aaron <1900-1990> Tender land Gershwin, George <1898-1937> Porgy and Bess Joplin, Scott <1868-1917> Treemonisha Weill, Kurt <1900-1950> Street scene Joplin, Scott 1868-1917 Treemonisha (DE-588)7657299-7 gnd Copland, Aaron 1900-1990 The tender land (DE-588)4470425-2 gnd Gershwin, George 1898-1937 Porgy and Bess (DE-588)300057946 gnd Weill, Kurt 1900-1950 Street scene (DE-588)7591877-8 gnd Operas Analysis, appreciation Opera United States 20th century Oper (DE-588)4043582-9 gnd |
| subject_GND | (DE-588)7657299-7 (DE-588)4470425-2 (DE-588)300057946 (DE-588)7591877-8 (DE-588)4043582-9 (DE-588)4078704-7 |
| title | Tonality as drama closure and interruption in four twentieth-century American operas |
| title_auth | Tonality as drama closure and interruption in four twentieth-century American operas |
| title_exact_search | Tonality as drama closure and interruption in four twentieth-century American operas |
| title_exact_search_txtP | Tonality as drama closure and interruption in four twentieth-century American operas |
| title_full | Tonality as drama closure and interruption in four twentieth-century American operas Edward D. Latham |
| title_fullStr | Tonality as drama closure and interruption in four twentieth-century American operas Edward D. Latham |
| title_full_unstemmed | Tonality as drama closure and interruption in four twentieth-century American operas Edward D. Latham |
| title_short | Tonality as drama |
| title_sort | tonality as drama closure and interruption in four twentieth century american operas |
| title_sub | closure and interruption in four twentieth-century American operas |
| topic | Joplin, Scott 1868-1917 Treemonisha Weill, Kurt 1900-1950 Street scene Gershwin, George 1898-1937 Porgy and Bess Copland, Aaron 1900-1990 Tender land Copland, Aaron <1900-1990> Tender land Gershwin, George <1898-1937> Porgy and Bess Joplin, Scott <1868-1917> Treemonisha Weill, Kurt <1900-1950> Street scene Joplin, Scott 1868-1917 Treemonisha (DE-588)7657299-7 gnd Copland, Aaron 1900-1990 The tender land (DE-588)4470425-2 gnd Gershwin, George 1898-1937 Porgy and Bess (DE-588)300057946 gnd Weill, Kurt 1900-1950 Street scene (DE-588)7591877-8 gnd Operas Analysis, appreciation Opera United States 20th century Oper (DE-588)4043582-9 gnd |
| topic_facet | Joplin, Scott 1868-1917 Treemonisha Weill, Kurt 1900-1950 Street scene Gershwin, George 1898-1937 Porgy and Bess Copland, Aaron 1900-1990 Tender land Copland, Aaron <1900-1990> Tender land Gershwin, George <1898-1937> Porgy and Bess Joplin, Scott <1868-1917> Treemonisha Weill, Kurt <1900-1950> Street scene Copland, Aaron 1900-1990 The tender land Operas Analysis, appreciation Opera United States 20th century Oper USA |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016493819&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016493819&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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