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oapen-20.500.12657-317702021-11-09T09:03:26Z Tonality as Drama Latham, Edward Music Cadence George Gershwin Konstantin Stanislavski Kurt Weill Primary tone Tonic (music) Treemonisha Voice leading bic Book Industry Communication::A The arts::AV Music 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. Latham reveals a strategic use of tonality in that repertoire as a means of amplifying or undercutting the success or failure of dramatic characters. 2017-03-09 23:55 2019-11-26 16:27:20 2020-04-01T13:48:53Z 2020-04-01T13:48:53Z 2008 book 625265 OCN: 621699410 9781574413717 http://library.oapen.org/handle/20.500.12657/31770 eng application/pdf n/a 625265.pdf University of North Texas Press 10.26530/oapen_625265 100037 10.26530/oapen_625265 da87c8b8-d41f-4653-b168-080688995f85 b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9781574413717 Knowledge Unlatched (KU) Denton, Texas, USA 100037 KU Select 2016 Backlist Collection Knowledge Unlatched open access
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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. Latham reveals a strategic use of tonality in that repertoire as a means of amplifying or undercutting the success or failure of dramatic characters.
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