| Description |
1 online resource (601 p.) |
| Series |
Oxford Studies in Music Theory Ser |
|
Oxford Studies in Music Theory Ser
|
| Contents |
Cover -- Series -- The Musical Language of Italian Opera, 1813-1859 -- Copyright -- Dedication -- Contents -- Preface -- Acknowledgments -- Introduction: What Is There to Analyze? -- PART I: LA VIA ITALIANA 9 -- 1. The Anvil Chorus -- 2. Theoretical Contexts I: Nineteenth-Century Theory -- Italian Theory: An Overview -- Theories of Harmony, 1800-1840 -- Theories of Rhythm, 1800-1840 -- Midcentury Theorists -- Theories of Harmony, 1840-1860 -- Theories of Rhythm, 1840-1860 -- Conclusion -- 3. Theoretical Contexts II: Schenker and Riemann -- Heinrich in Italy -- Riemann, Paleo- and Neo- |
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4. Rhythm and Meter -- Poetic Meters and Their Musical Settings -- Four-Cycles -- Rossini -- Verdi -- 5. Musical Form -- Symmetry -- Rossini and Repetition -- Lyric Form -- Multi-Movement Forms -- PART II: ROSSINI 185 -- 6. Rossini's Mediants -- Diatonic Mediants -- The Mediant Key in Major (iiiT) -- The Submediant Key in Major (viT) -- Chromatic Mediants -- Chromatic Mediants on a Large Scale -- Chromatic Miracles in Mosè in Egitto -- Chromatic Stupefaction in Il barbiere -- Summary of Mediant Relations -- 7. Tonal Coherence in Rossini's Italian Operas -- Semiramide, Finale primo |
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Tonal Coherence in La donna del lago -- Pathways through Otello, Act 3 -- Fusion of Numbers -- 8. Guillaume Tell -- Rossini in Paris -- Overture and Act 1 -- Act 2 -- Act 3 -- Act 4 -- PART III: BETWEEN ROSSINI AND VERDI 289 -- 9. Bellini and the New Diatonicism -- Textual Issues -- Recitative and Scena -- Characteristic Foreground Techniques -- Supplenti -- Local Techniques with Large-Scale Consequences -- Long-Range Linearity: The Scena of the Adalgisa-Pollione Duet -- Tonal Pairing: The End of La straniera -- Tonality and Sonorità: The End of Norma -- 10. Meyerbeer and the New Chromaticism |
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11. Around 1840: Mercadante and Donizetti -- Mercadante's Operas, 1837-1840 -- Il giuramento, Act 3 -- Donizetti's Operas, 1838-1843 -- La favorite, Act 4 -- The End of Maria di Rohan -- PART IV: VERDI'S SEDICI ANNI 403 -- Verdi's Chiaroscuro -- Gisi and Verdian Tonality -- 12. Ernani to Attila (1844-1846) -- Ernani -- Giovanna d'Arco, Act 3 -- Attila, Prologue -- 13. Rigoletto and Il trovatore (1851-1853) -- Verdi and Meyerbeer -- Rigoletto and Il trovatore Compared -- Some Aspects of Rigoletto -- Tonality in Rigoletto: Static or Kinetic, Ontic or Gignetic? -- Tonality in Il trovatore |
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Analysis of Il trovatore, No. 3 (Scena, Romanza, e Terzetto) -- 14. Les vêpres siciliennes to Un ballo in maschera (1854-1859) -- Les vêpres siciliennes, Act 2 -- Simon Boccanegra (1857), Prologue -- Lyric Form in Simon Boccanegra -- Boccanegra, Ballo, and the Diminished Seventh -- Un ballo in maschera, Act 2 -- Afterword: Verdi and his Predecessors -- Selected Bibliography -- Index of Names and Works -- General Index |
| Summary |
The Musical Language of Italian Opera, 1813-1859 examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, showing how certain recurring principles define a distinctively Italian practice that left its mark on the German repertoire more familiar to music theorists |
| Notes |
Description based upon print version of record |
| Subject |
Theory, Analysis, and Composition -- Opera
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| Form |
Electronic book
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| ISBN |
9780197609705 |
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0197609708 |
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