Tonality as Drama: Closure and Interruption in Four Twentieth-Century American Operas

Contents
List of Illustrations					
Preface							
Acknowledgments			
Chapter 1. Tonality as Drama: An Introduction					1
Merging Tonal and Dramatic Analysis			
The Permanent Interruption and the Multi-Movement Ursatz	
Strategic Tonality in Four Post-Wagnerian Operas		
Chapter 2. Dramatic Closure: the Stanislavsky System and the Attainment of Character Objectives			
Scoring a Role						
Sample Analyses: Griboyedov and Shakespeare		
Stanislavsky and Schenker in the United States			
Applying the System to the Analysis of Opera			
Chapter 3	Tonal Closure: A Schenkerian Approach to Tonal Drama		
Incorporating Dramatic Analysis			
Chapter 4 	The Completed Background Line with Open-Ended Coda: 		
Scott Joplin's "Grand Opera" Treemonisha (1911)
Synopsis							
Scoring and Analyzing the Roles of 
Zodzetrick and Treemonisha				
Summary				
Chapter 5 	The Multi-Movement Anstieg or Initial Ascent: 			
George Gershwin's "Folk Opera" Porgy and Bess (1935)		
Synopsis								
Scoring and Analyzing the Roles of Porgy and Bess		
Summary				
Chapter 6	The Multi-Movement Initial Arpeggiation:
Kurt Weill's "Broadway Opera" Street Scene (1947)	
Synopsis						
Scoring and Analyzing the Roles of Sam and Rose	
Summary						
Chapter 7 	The Prolonged Permanent Interruption:
Aaron Copland's "Operatic Tone Poem" The Tender Land (1954)
Synopsis			
Scoring and Analyzing the Roles of Martin and Laurie
Summary						
Notes
Bibliography						
Index