In this Book

buy this book Buy This Book in Print
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.

Table of Contents

  1. Cover
  2. open access Download |
  1. Title Page, Copyright, Dedication
  2. open access Download |
  1. Contents
  2. open access Download |
  1. List of Illustrations
  2. pp. vii-ix
  3. open access Download |
  1. Preface
  2. pp. x-xiv
  3. open access Download |
  1. Acknowledgments
  2. pp. xv-xvi
  3. open access Download |
  1. 1. Tonality as Drama: An Introduction
  2. pp. 1-18
  3. open access Download |
  1. 2. Dramatic Closure: The Stanislavsky System and the Attainment of Character Objectives
  2. pp. 19-53
  3. open access Download |
  1. 3. Tonal Closure: A Schenkerian Approach to Tonal Drama
  2. pp. 54-68
  3. open access Download |
  1. 4. The Completed Background LineWith Open-Ended Coda: Scott Joplin’s “Grand Opera” Treemonisha (1911)
  2. pp. 69-94
  3. open access Download |
  1. 5. The Multi-Movement Anstieg or Initial Ascent: George Gershwin’s “Folk Opera” Porgy and Bess (1935)
  2. pp. 95-138
  3. open access Download |
  1. 6. The Multi-Movement Initial Arpeggiation: Kurt Weill’s “Broadway Opera” Street Scene (1947)
  2. pp. 139-164
  3. open access Download |
  1. 7. The Prolonged Permanent Interruption: Aaron Copland’s “Operatic Tone Poem ”The Tender Land (1954)
  2. pp. 165-192
  3. open access Download |
  2. pp. 193-210
  3. open access Download |
  1. index
  2. pp. 211-221
  3. open access Download |

Additional Information

Related ISBN
MARC Record
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.