Tonality as Drama: Closure and Interruption in Four Twentieth-century American Operas

This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.

Whether you are
in the business,
or a music theorist, musicologist, or simply an opera fan - read on! This is an analytical monograph by a Schenkerian 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 about twentieth-century music: Why does 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 study meant to inspire changes in the analysis and performance of tonal opera.