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035 _a(OCoLC)621699410
037 _5BiblioBoard
245 0 0 _aTonality as Drama
_bClosure and Interruption in Four Twentieth-Century American Operas /
_cEdward D. Latham.
020 _a9781574413717
029 1 _ahttps://library.biblioboard.com/ext/api/media/b17a363f-4483-4cfc-87f2-a1358003f35e/assets/thumbnail.jpg
040 _aScCtBLL
_cScCtBLL
100 1 _aLatham, Edward D.
_eauthor.
264 1 _bUniversity of North Texas Press,
300 _a1 online resource (237 p.)
506 0 _aAccess copy available to the general public.
_fUnrestricted
_2star
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.
588 0 _aDescription based on print version record.
590 _aKU Select 2016 Backlist Collection
650 7 _aMusic / Genres & Styles / Opera
_2bisacsh
650 0 _aMusic
655 0 _aElectronic books.
758 _iIs found in:
_aKnowledge Unlatched
_1https://openresearchlibrary.org/module/2774bc74-146a-484f-a7ba-ab1d6a09bbfb
856 4 0 _uhttps://openresearchlibrary.org/content/b17a363f-4483-4cfc-87f2-a1358003f35e
_zView this content on Open Research Library.
_70
999 _c23894
_d23894