The Italian Traditions and Puccini: Compositional Theory and Practice in Nineteenth-Century Opera (Musical Meaning and Interpretation)

“A major contribution... not only to Puccini studies but also to the study of nineteenth-century Italian opera in general.” —Nineteenth-Century Music Review 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, 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. “Dense and challenging in its detail and analysis, this work is an important addition to the growing corpus of Puccini studies.... Highly recommended.” —Choice 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] Musical Traditions In Nineteenth-century Italy. The Italian Schools ; An Introduction To The Primary Sources ; Pucci 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. Dominent Affects And Their Movements ; Physical And Sentimental Imitation ; Form And Conduct ; Case Studies From Verdi, Boito, And Puccini -- Vocalizzi, Solfeggi, And Real (or Ideal) Composition. Lessons In Singing And Counterpoint ; Lessons In Singing And Solfeggio ; From Solfeggio To Ideal Composition In Puccini (and Bellini). Nicholas Baragwanath. Includes Bibliographical References (p. 355-391) And Indexes. Cover......Page 1 Contents......Page 8 Preface & Acknowledgments......Page 10 A Note on Translation and Terminology......Page 18 I. The Italian Schools......Page 26 II. An Introduction to the Primary Sources......Page 28 III. Puccini and the End of the Great Tradition......Page 59 I. Composition as Craft......Page 66 II. The Istituto musicale in Lucca......Page 74 III. Scarpia and the Partimento Cadence......Page 81 IV. The Conservatorio di Milano......Page 85 I. Rhythm without Measure, Accent without Beat......Page 91 II. Rules of Versification, Lippmann’s Rhythmic-Musical Types, and Two Case Studies......Page 100 III. Historical Survey of Writings on Ritmo......Page 114 IV. Short Case Studies from Bellini and Puccini......Page 150 I. The Partimento Tradition......Page 165 II. Michele Puccini’s Corso pratico di contrappunto (1846)......Page 189 III. The Bolognese Attachment, or “Little Keys for Winding Clocks”......Page 192 IV. Regular Motions and Melodic Composition......Page 206 I. Dominant Affects and Their Movements......Page 215 II. Physical and Sentimental Imitation......Page 219 III. Form and Conduct......Page 228 IV. Case Studies from Verdi, Boito, and Puccini......Page 257 I. Lessons in Singing and Counterpoint......Page 281 II. Lessons in Singing and Solfeggio......Page 288 III. From Solfeggio to Ideal Compositionin Puccini (and Bellini)......Page 293 Notes......Page 338 Bibliography......Page 380 Index of Concepts......Page 418 Index of Names and Works......Page 424