TY  - GEN
AU  - Latham,Edward
TI  - Tonality as Drama : Closure and Interruption in Four Twentieth-Century American Operas
SN  - oapen_625265
PY  - 2008///
CY  - Denton, Texas, USA
PB  - University of North Texas Press
KW  - Music
KW  - bicssc
KW  - Cadence
KW  - George Gershwin
KW  - Konstantin Stanislavski
KW  - Kurt Weill
KW  - Primary tone
KW  - Tonic (music)
KW  - Treemonisha
KW  - Voice leading
N1  - Open Access
N2  - 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
UR  - https://library.oapen.org/bitstream/20.500.12657/31770/1/625265.pdf
UR  - https://library.oapen.org/bitstream/20.500.12657/31770/1/625265.pdf
UR  - https://library.oapen.org/bitstream/20.500.12657/31770/1/625265.pdf
UR  - https://directory.doabooks.org/handle/20.500.12854/29470
ER  -