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001 https://directory.doabooks.org/handle/20.500.12854/29470
020 _aoapen_625265
020 _a9781574413717
024 7 _a10.26530/oapen_625265
_cdoi
041 0 _aEnglish
042 _adc
072 7 _aAV
_2bicssc
100 1 _aLatham, Edward
_4auth
245 1 0 _aTonality as Drama : Closure and Interruption in Four Twentieth-Century American Operas
260 _aDenton, Texas, USA
_bUniversity of North Texas Press
_c2008
506 0 _aOpen Access
_2star
_fUnrestricted online access
520 _aThis 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.
540 _aCreative Commons
_fhttps://creativecommons.org/licenses/by-nc-nd/4.0/legalcode
_2cc
_4https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode
546 _aEnglish
650 7 _aMusic
_2bicssc
653 _aMusic
653 _aCadence
653 _aGeorge Gershwin
653 _aKonstantin Stanislavski
653 _aKurt Weill
653 _aPrimary tone
653 _aTonic (music)
653 _aTreemonisha
653 _aVoice leading
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_70
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856 4 0 _awww.oapen.org
_uhttps://directory.doabooks.org/handle/20.500.12854/29470
_70
_zDOAB: description of the publication
999 _c55090
_d55090