| Record ID | marc_oapen/oapen.marc.utf8.mrc:12858827:1770 |
| Source | marc_oapen |
| Download Link | /show-records/marc_oapen/oapen.marc.utf8.mrc:12858827:1770?format=raw |
LEADER: 01770 am a22002653u 450
001 625265
005 20191126
007 cu#uuu---auuuu
008 191126s|||| xx o 0 u eng |
020 $a9781574412499
020 $a9781574413717
024 7 $a10.26530/oapen_625265$2doi
041 0 $aeng
042 $adc
072 7 $aAV$2bicssc
100 1 $aLatham, Edward$4aut
245 10 $aTonality as Drama
260 $aDenton, Texas, USA$bUniversity of North Texas Press$c2008
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.
536 $aKnowledge Unlatched$c100037$bKU Select 2016 Backlist Collection
546 $aEnglish.
650 7 $aMusic$2bicssc
653 $aMusic
856 40 $uhttp://www.oapen.org/download?type=document&docid=625265$zAccess full text online
856 40 $uhttps://creativecommons.org/licenses/by-nc-nd/4.0/legalcode$zCreative Commons License