Del i serien OXFORD STUDIES IN MUSIC THEORY

The Musical Language of Italian Opera, 1813-1859

Inbunden, Engelska, 2022

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Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers—Rossini, Bellini, Mercadante, Donizetti, and Verdi—and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns—that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists.

Produktinformation

Utgivningsdatum2022-12-22
Mått163 x 237 x 42 mm
Vikt1 007 g
FormatInbunden
SpråkEngelska
SerieOXFORD STUDIES IN MUSIC THEORY
Antal sidor600
FörlagOUP USA
ISBN9780197609682
UtmärkelserSpecial Recognition Award, ASCAP Foundation Deems Taylor/Virgil Thomson Awards

Tillhör följande kategorier

Klassisk musik, konstmusik och orkestermusik inom Kultur
Musikvetenskap inom Kultur
Opera inom Kultur

William Rothstein is Professor of Music Theory at Queens College and The Graduate Center of the City University of New York. He previously taught at Amherst College, Oberlin College, and the University of Michigan. He is author of Phrase Rhythm in Tonal Music and co-author (with Charles Burkhart) of Anthology for Musical Analysis. He has written and lectured extensively on music of the eighteenth and nineteenth centuries, with special emphasis on musical rhythm, Schenkerian theory and analysis, and nineteenth-century Italian opera.

PrefaceAcknowledgments Introduction: What is there to analyze? Part One: La Via ItalianaChapter 1. The Anvil ChorusChapter 2. Theoretical contexts I: Nineteenth-century theoryChapter 3. Theoretical contexts II: Schenker and RiemannChapter 4. Rhythm and meterChapter 5. Musical form Part Two: RossiniChapter 6. Rossini's mediantsChapter 7. Tonal coherence in Rossini's Italian operasChapter 8. Guillaume Tell Part Three: Between Rossini and VerdiChapter 9. Bellini and the new diatonicismChapter 10. Meyerbeer and the new chromaticismChapter 11. Around 1840: Mercadante and Donizetti Part Four: Verdi's Sedici AnniChapter 12. Ernani to Attila (1844-1846)Chapter 13. Rigoletto and Il trovatore (1851-1853)Chapter 14. Les vêpres siciliennes to Un ballo in maschera (1854-1859) Afterword: Verdi and His Predecessors Selected bibliographyIndex