Esercizi di solfeggio cantato
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The study of harmony and counterpoint, as undertaken by Rossini, Verdi, and Puccini (principally through playing and singing), was entirely at odds with modern approaches to similarly named disciplines. Similarly, the modern understanding of musical “form,” based on a notion of abstract templates that may be traced to such sources as Reicha (1824–26) and Marx (1837–47), began to influence Italian publications only toward the end of the nineteenth century.
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Nineteenth-century Italian accounts of rhythm and its relation to phrase structure, for instance, bear little resemblance to the German tradition represented by Koch (1787), Hauptmann (1853), and Riemann (1884), which continues to underpin contemporary theory. In many respects they differed profoundly from conventional modern teachings. The methods of musical training current in Lucca during Puccini’s formative years had remained essentially unchanged since the eighteenth century. What, precisely, “tradition” might mean in this context forms the main subject of the book. It concerns the Italian musical tradition of which he remains, by common consent, the last great representative. … 268 Īlthough it focuses on his life and operas, this book is not primarily about Giacomo Puccini (1858–1924).From Solfeggio to Ideal Composition in Puccini (and Bellini)â … 232 6 Vocalizzi, Solfeggi, and R eal (or Ideal) Composition I.Case Studies from Verdi, Boito, and Pucciniâ … 181 5 Lessons in Dr amatic Composition III: Affect, Imitation, and Conduct I.The Bolognese Attachment, or “Little Keys for Winding Clocks”â Michele Puccini’s Corso pratico di contrappunto (1846)â … 125Ĥ Lessons in Dr amatic Composition II: Har mony and Counter point I.Short Case Studies from Bellini and Pucciniâ Rules of Versification, Lippmann’s RhythmicMusical Types, and Two Case Studiesâ Rhythm without Measure, Accent without Beatâ … 60 3 Lessons in Dr amatic Composition I: R hythm I.Puccini and the End of the Great Traditionâ … xviiġ Musical Tr aditions in Nineteenth-Century Italy.A Note on Translation and Terminologyâ.Music-Instruction and study-Italy-History-19th century. Composition (Music)-History- 19th century. Puccini, Giacomo, 1858-1924- Criticism and interpretation. (Musical meaning and interpretation) Includes bibliographical references and index. The Italian traditions and Puccini : compositional theory and practice in nineteenth-century opera / Nicholas Baragwanath.
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Manufactured in the United States of America Library of Congress Cataloging-inPublication Data Baragwanath, Nicholas. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. ‡ © 2011 by Nicholas Baragwanath All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher.This book is a publication of Indiana University Press 601 North Morton Street Bloomington, Indiana 47404-3797 USA Telephone ordersâ Indiana University Pr ess Bloomington & Indianapolis Hatten, editorĬom positiona l Th eory a n d Pr actice i n N i n ete en th-Cen t u ry Oper a M usica l M e a n i ng & I n ter pr etation Robert S. 1909.īloomington & Indianapolis 1-80Īrchaic traditions to the music Musical Meaning & Interpretation Robert S. The Italian Traditions and Puccini offers a guide to an informed interpretation and appreciation of Italian opera by underscoring the proximity ofĬover illustration Giacomo Puccini in his garden at Torre del Lago, ca. Primary sources, Baragwanath explains the varying theories and practices of the period in light of current theoretical and analytical conceptions of this music. Taking account of some 400Ĭompositional Theory & Practice in NineteenthCentury Opera The compositional significance of tradition in Rossini, Bellini,ĭonizetti, Verdi, Boito, and, most importantly, Puccini. Clarity the most important (and entangled)įacets of the Italian theoretical traditions.