Tonality as Drama: Closure and Interruption in Four Twentieth-century American OperasWhether 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. |
Contents
| 1 | |
the Stanislavsky System and the Attainment of Character Objectives | 19 |
A Schenkerian Approach to Tonal Drama | 54 |
Scott Joplins Grand Opera Treemonisha 1911 | 69 |
George Gershwins Folk Opera Porgy and Bess 1935 | 95 |
Kurt Weills Broadway Opera Street Scene 1947 | 139 |
Aaron Coplands Operatic Tone Poem The Tender Land 1954 | 165 |
| 193 | |
| 211 | |
Common terms and phrases
Actor Prepares American opera aria arpeggiation authentic cadence background structure beat objective Benedetti Bess’s Broadway Bß major Buzzard Song cadential character character’s chromatic closure composer conjurors Copland create descent dominant duet Farneth Fƒ major Figure final fundamental line fundamental structure G major Gershwin Grandpa Moss half cadence harmonic Heinrich Schenker Heyward home key Ibid initial Jablonski Konstantin Stanislavsky Kurt Weill Laurie’s linear Lonely House main theme Marcozzi McCreless melody Meyerhold middleground minor modulation Monisha motive multi-movement Music Theory notes Nuttin œ j œ œ œ œ œ œb œ œn œb œ orchestra PAC 3-line perfect authentic cadence performance permanent interruption pitch Porgy and Bess Porgy’s primary tone production prolonged ragtime Remus role Rose’s Sam’s Schachter Schenkerian analysis Schenkerian theory score Scott Joplin Sophia Stanislavsky system Street Scene superobjective Tender Land tonal Treemonisha University Press Ursatz vocal line voice leading York Zodzetrick