LEADER 04168nam 2200673 a 450 001 9910781213403321 005 20230725050521.0 010 $a0-253-00166-8 035 $a(CKB)2550000000039969 035 $a(EBL)713698 035 $a(OCoLC)740386395 035 $a(SSID)ssj0000538154 035 $a(PQKBManifestationID)11335190 035 $a(PQKBTitleCode)TC0000538154 035 $a(PQKBWorkID)10556911 035 $a(PQKB)10391735 035 $a(MiAaPQ)EBC713698 035 $a(OCoLC)750236168 035 $a(MdBmJHUP)muse17116 035 $a(Au-PeEL)EBL713698 035 $a(CaPaEBR)ebr10481732 035 $a(CaONFJC)MIL523679 035 $a(EXLCZ)992550000000039969 100 $a20101228d2011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe Italian traditions & Puccini$b[electronic resource] $ecompositional theory and practice in nineteenth-century opera /$fNicholas Baragwanath 210 $aBloomington $cIndiana University Press$dc2011 215 $a1 online resource (438 p.) 225 1 $aMusical meaning and interpretation 300 $aDescription based upon print version of record. 311 $a0-253-35626-1 320 $aIncludes bibliographical references and indexes. 327 $aCover; Title; Copyright; Contents; Preface & Acknowledgments; A Note on Translation and Terminology; 1 Musical Traditions in Nineteenth-Century Italy; I The Italian Schools; II An Introduction to the Primary Sources; III Puccini and the End of the Great Tradition; 2 Studies in Lucca and Milan; I Composition as Craft; II The Istituto musicale in Lucca; III Scarpia and the Partimento Cadence; IV The Conservatorio di Milano; 3 Lessons in Dramatic Composition I: Rhythm; I Rhythm without Measure, Accent without Beat 327 $aII Rules of Versification, Lippmann's Rhythmic-Musical Types, and Two Case StudiesIII Historical Survey of Writings on Ritmo; IV Short Case Studies from Bellini and Puccini; 4 Lessons in Dramatic Composition II: Harmony and Counterpoint; I The Partimento Tradition; II Michele Puccini's Corso pratico di contrappunto (1846); III The Bolognese Attachment, or ""Little Keys for Winding Clocks""; IV Regular Motions and Melodic Composition; 5 Lessons in Dramatic Composition III: Affect, Imitation, and Conduct; I Dominant Affects and Their Movements; II Physical and Sentimental Imitation 327 $aIII Form and ConductIV Case Studies from Verdi, Boito, and Puccini; 6 Vocalizzi, Solfeggi, and Real (or Ideal) Composition; I Lessons in Singing and Counterpoint; II Lessons in Singing and Solfeggio; III From Solfeggio to Ideal Composition in Puccini (and Bellini); Notes; Bibliography; Index of Concepts; Index of Names and Works 330 $aIn this groundbreaking survey of the fundamentals, methods, and formulas that were taught at Italian music conservatories during the 19th century, Nicholas Baragwanath explores the compositional significance of tradition in Rossini, Bellini, Donizetti, Verdi, Boito, and, most importantly, Puccini. Taking account of some 400 primary sources, Baragwanath explains the varying theories and practices of the period in light of current theoretical and analytical conceptions of this music. The Italian Traditions and Puccini offers a guide to an informed interpretation and appreciation of Italian op 410 0$aMusical meaning and interpretation. 517 3 $aItalian traditions and Puccini 606 $aOpera$zItaly$y19th century 606 $aMusic theory$zItaly$xHistory$y19th century 606 $aComposition (Music)$xHistory$y19th century 606 $aMusic$xInstruction and study$zItaly$xHistory$y19th century 615 0$aOpera 615 0$aMusic theory$xHistory 615 0$aComposition (Music)$xHistory 615 0$aMusic$xInstruction and study$xHistory 676 $a782.10945/09034 700 $aBaragwanath$b Nicholas$01519264 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910781213403321 996 $aThe Italian traditions & Puccini$93757282 997 $aUNINA