Cover

pdf iconDownload PDF
 

Title Page, Copyright Page

pdf iconDownload PDF
 

Contents

pdf iconDownload PDF
 

read more

Preface & Acknowledgments

pdf iconDownload PDF

pp. ix-xvi

Although it focuses on his life and operas, this book is not primarily about Giacomo Puccini (1858–1924). It concerns the Italian musical tradition of which he remains, by common consent, the last great representative. What, precisely, “tradition” might mean in this context forms the main subject of the book. ...

read more

A Note on Translation and Terminology

pdf iconDownload PDF

pp. xvii-xx

Unless otherwise stated, all translations in this book are my own. The guiding principle has been to capture the most accurate meaning regardless of the flow of the prose and to preserve as closely as possible the formulations, terms, and (often) ambiguities of the texts. All significant quotations in English are accompanied by the corresponding passage in ...

read more

1 Musical Traditions in Nineteenth-Century Italy

pdf iconDownload PDF

pp. 1-40

The Italian musical tradition was not a unified whole but an aggregate of diverse regional traditions. There were a number of recognized musical centers and institutions, within which individual maestros passed on their own compilations and interpretations of earlier teachings to successive generations. Although the distinctions between them became ...

read more

2 Studies in Lucca and Milan

pdf iconDownload PDF

pp. 41-65

It was obvious, inevitable even, that Puccini would pursue a musical career. His ancestors had occupied positions as maestri di musica in Lucca since 1739, and no one, least of all Puccini himself, appears ever to have questioned the assumption that he would continue the family tradition. Like most professional composers in Italy before him, he spent his entire ...

read more

3 Lessons in Dramatic Composition I: Rhythm

pdf iconDownload PDF

pp. 66-139

In nineteenth-century Italian usage, the word for musical rhythm, ritmo, encompassed a far broader range of concepts and meanings than its modern counterpart. It could, for instance, be used to refer to fluid subjective movements of the individual mind or “soul” in terms of emotions and feelings, especially of the sort induced through the sentiments of poetry or music and manifested in the ebb and flow of a reading or performance. ...

read more

4 Lessons in Dramatic Composition II: Harmony and Counterpoint

pdf iconDownload PDF

pp. 140-187

At the Lucca Conservatory, typically, students entering the final-year composition class would already have received up to four years of primary courses in musical rudiments and a further three years of secondary courses in the disciplines of harmony and counterpoint.1 These were occupied with a combination of the Neapolitan partimento tradition (mainly Fenaroli and Sala) and the associated Bolognese tradition (Martini and ...

read more

5 Lessons in Dramatic Composition III:Affect, Imitation, and Conduct

pdf iconDownload PDF

pp. 190-255

The ability to conceive an appropriate ritmo for a given dramatic text, to furnish it with a suitable melodic design, and to construct from this a coherent musical phrase was an essential yet mechanical aspect of the craft of composition. Without the more elusive properties of expressiveness or beauty, or a satisfying overall shape to the musical discourse, such formulas mattered little. Audiences took it for granted that operatic music ...

read more

6 Vocalizzi, Solfeggi, and Real (or Ideal) Composition

pdf iconDownload PDF

pp. 256-311

Before the demise of the great tradition, the practice of counterpoint (and, less often, harmony) was commonly taught in Italy by masters of singing. The disciplines were not regarded as separate, as they are today. On the contrary, a glance at the faculty lists of the conservatories shows that expertise in vocal training appears to have been considered a prerequisite for the teaching of counterpoint, just as proficiency at the keyboard was ...

Notes

pdf iconDownload PDF

pp. 313-354

Bibliography

pdf iconDownload PDF

pp. 355-391

Index of Concepts

pdf iconDownload PDF

pp. 393-397

Index of Names and Works

pdf iconDownload PDF

pp. 399-407