The Italian Traditions & Puccini

by Baragwanath, Nicholas

• ISBN13: 9780253356260
• ISBN10: 0253356261
• Format: Hardcover
• Copyright: 2011-07-08
• Publisher: Indiana Univ Pr

Summary

Nicholas Baragwanath surveys the once commonplace fundamentals, methods, and formulas that were taught at Italian music conservatories during the 19th century. In this new and groundbreaking account, he explores the compositional significance of these traditions in Rossini, Bellini, Donizetti, Verdi, Boito, and, most importantly, Puccini. Taking account of some 400 primary sources, Baragwanath explains the varying theories and practices of the period in light of current theoretical and analytical conceptions of this music. The Italian Traditions and Puccini offers a guide to an informed interpretation and appreciation of Italian opera, by underscoring the proximity of archaic traditions to the music of Puccini.

Table of Contents

Preface & Acknowledgments	p. ix
A Note on Translation and Terminology	p. xvii
Musical Traditions in Nineteenth-Century Italy
The Italian Schools	p. 1
An Introduction to the Primary Sources	p. 3
Puccini and the End of the Great Tradition	p. 34
Studies in Lucca and Milan
Composition as Craft	p. 41
The Istituto musicale in Lucca	p. 49
Scarpia and the Partimento Cadence	p. 56
The Conservatorio di Milano	p. 60
Lessons in Dramatic Composition I: Rhythm
Rhythm without Measure, Accent without Beat	p. 66
Rules of Versification, Lippmann's Rhythmic-Musical Types, and Two Case Studies	p. 75
Historical Survey of Writings on Ritmo	p. 89
Short Case Studies from Bellini and Puccini	p. 125
Lessons in Dramatic Composition II: Harmony and Counterpoint
The Partimento Tradition	p. 140
Michele Puccini's Corso pratico di contrappunto (1846)	p. 164
The Bolognese Attachment, or ôLittle Keys for Winding Clocksö	p. 167
Regular Motions and Melodic Composition	p. 181
Lessons in Dramatic Composition III: Affect, Imitation, and Conduct
Dominant Affects and Their Movements	p. 190
Physical and Sentimental Imitation	p. 194
Form and Conduct	p. 203
Case Studies from Verdi, Boito, and Puccini	p. 232
Vocalizzi, Solfeggi, and Real (Or Ideal) Composition
Lessons in Singing and Counterpoint	p. 256
Lessons in Singing and Solfeggio	p. 263
From Solfeggio to Ideal Composition in Puccini (and Bellini)	p. 268
Notes	p. 313
Bibliography	p. 355
Index of Concepts	p. 393
Index of Names and Works	p. 399
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