The Italian traditions & Puccini : compositional theory and practice in nineteenth-century opera / Nicholas Baragwanath.
2011
782.1094509034 P977b 2011
Available at 2nd (Main) Floor
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Title
The Italian traditions & Puccini : compositional theory and practice in nineteenth-century opera / Nicholas Baragwanath.
Author
ISBN
9780253356260 (hardcopy : alk. paper)
0253356261 (hardcopy : alk. paper)
0253356261 (hardcopy : alk. paper)
Imprint
Bloomington : Indiana University Press, c2011.
Language
English
Description
xx, 407 p. : ill. ; 24 cm.
Call Number
782.1094509034 P977b 2011
System Control No.
(OCoLC)663954299
(OCoLC)663954299
(OCoLC)663954299
Summary
In this groundbreaking survey of the fundamentals, methods, and formulas that were taught at Italian music conservatories during the 19th century, Nicholas Baragwanath explores the compositional significance of tradition in Rossini, Bellini, Donizetti, Verdi, Boito, and Puccini. Baragwanath explains the varying theories and practices of the period in light of current theoretical and analytical conceptions of this music. This book offers a guide to an informed interpretation and appreciation of Italian opera by underscoring the proximity of archaic traditions to the music of Puccini.--[book jacket]
Bibliography, etc. Note
Includes bibliographical references (p. 355-391) and indexes.
Formatted Contents Note
Musical traditions in nineteenth-century Italy. The Italian schools
An introduction to the primary sources
Puccini and the end of the great tradition
Studies in Lucca and Milan. Composition as craft
The Istituto musicale in Lucca
Scarpia and the Partimento Cadence
The Conservatorio di Milano
Lessons in dramatic composition I: Rhythm. Rhythm without measure, accent without beat
Rules of versification, Lippmann's rhythmic-musical types, and two case studies
Historical survey of writings on Ritmo
Short case studies from Bellini and Puccini
Lessons in dramatic composition II: Harmony and counterpoint. The Partimento 'Tradition'
Michele Puccini's Corso pratico di contrappunto (1846)
The Bolognese attachment, or "Little keys for winding clocks"
Regular motions and melodic composition
Lessons in dramatic composition III: Affect, imitation, and conduct. Dominant affects and their movements
Physical and sentimental imitation
Form and conduct
Case studies from Verdi, Boito, and Puccini
Vocalizzi, Solfeggi, and real (or ideal) compositions. Lessons in singing and counterpoint
Lessons in singing and Solfeggio
From Solfeggio to ideal composition in Puccini (and Bellini).
An introduction to the primary sources
Puccini and the end of the great tradition
Studies in Lucca and Milan. Composition as craft
The Istituto musicale in Lucca
Scarpia and the Partimento Cadence
The Conservatorio di Milano
Lessons in dramatic composition I: Rhythm. Rhythm without measure, accent without beat
Rules of versification, Lippmann's rhythmic-musical types, and two case studies
Historical survey of writings on Ritmo
Short case studies from Bellini and Puccini
Lessons in dramatic composition II: Harmony and counterpoint. The Partimento 'Tradition'
Michele Puccini's Corso pratico di contrappunto (1846)
The Bolognese attachment, or "Little keys for winding clocks"
Regular motions and melodic composition
Lessons in dramatic composition III: Affect, imitation, and conduct. Dominant affects and their movements
Physical and sentimental imitation
Form and conduct
Case studies from Verdi, Boito, and Puccini
Vocalizzi, Solfeggi, and real (or ideal) compositions. Lessons in singing and counterpoint
Lessons in singing and Solfeggio
From Solfeggio to ideal composition in Puccini (and Bellini).
Series
Musical meaning and interpretation.
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