02907nam 22007094a 450 991016665380332120200520144314.09786612555480978128255548812825554809781574413717157441371697814416462001441646205(CKB)2560000000012938(EBL)517531(OCoLC)745977024(SSID)ssj0000429826(PQKBManifestationID)11274531(PQKBTitleCode)TC0000429826(PQKBWorkID)10452162(PQKB)11100195(MiAaPQ)EBC517531(OCoLC)621699410(MdBmJHUP)muse6886(Au-PeEL)EBL517531(CaPaEBR)ebr10383995(CaONFJC)MIL255548(ScCtBLL)b17a363f-4483-4cfc-87f2-a1358003f35e(oapen)https://directory.doabooks.org/handle/20.500.12854/29470(Perlego)2330052(oapen)doab29470(EXLCZ)99256000000001293820080325d2008 uy 0engur|n|---|||||txtccrTonality as drama closure and interruption in four twentieth-century American operas /Edward D. Latham1st ed.Denton, Tex. University of North Texas Pressc20081 online resource (238 p.)Description based upon print version of record.9781574412499 1574412493 Includes bibliographical references (p. 193-210) and index.Tonality as drama: an introduction -- Dramatic closure: the Stanislavsky system and the attainment of character objectives -- Tonal closure: a Schenkerian approach to tonal drama -- The completed background line with open-ended coda: Scott Joplin's grand opera Treemonisha (1911) -- The multi-movement Anstieg or initial ascent: George Gershwin's folk opera Porgy and Bess (1935) -- The multi-movement initial arpeggiation: Kurt Weill's Broadway opera Street scene (1947) -- The prolonged permanent interruption: Aaron Copland's operatic tone poem The tender land (1954).Drawing on the fields of dramaturgy, music theory, and historical musicology, this book answers a question about twentieth-century music: Why does tonality persist in opera, even after it has been abandoned in other genres?OperasAnalysis, appreciationOperaUnited States20th centuryOperasAnalysis, appreciation.Opera782.10973Latham Edward David949430MiAaPQMiAaPQMiAaPQBOOK9910166653803321Tonality as drama2145932UNINA