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Tonality as Drama - Closure and Interruption in Four Twentieth-Century American Operas - Latham

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Description

 							
  
  Whether you are “in the business,” or you are a music theorist, musicologist, or simply an
opera fan—read on! 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.
  
  Tonality as Drama is not a textbook—rather, it is an innovative analytical study meant to inspire changes in
the study and performance of tonal opera. By applying Schenker’s tonal analytical technique to a small segment
(early twentieth-century American opera) of a repertoire typically regarded as non-tonal (modern opera), Latham reveals
a strategic use of tonality in that repertoire as a means of amplifying or undercutting the success or failure of
dramatic characters. This use of “strategic tonality” is present in many of the grand operas and song cycles
of the nineteenth century as well, suggesting avenues for future research. 						

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