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Structural implications of stylistic plurality in Puccini's "Turandot".

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Structural implications of stylistic plurality in Puccini's "Turandot"./
作者:	Davis, Andrew C.
面頁冊數:	1 online resource (285 pages)
附註:	Source: Dissertations Abstracts International, Volume: 65-05, Section: A.
Contained By:	Dissertations Abstracts International65-05A.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780496418749

Structural implications of stylistic plurality in Puccini's "Turandot".
Davis, Andrew C.

Structural implications of stylistic plurality in Puccini's "Turandot". - 1 online resource (285 pages)

Source: Dissertations Abstracts International, Volume: 65-05, Section: A.

Thesis (Ph.D.)--Indiana University, 2003.

Includes bibliographical references

Recent work on music of Puccini has noted that the composer's late operas have as a common thread a marked degree of disjunction in one musical dimension or another. William Ashbrook and Harold Powers, Johanne Cassar, Mosco Carner, Helen Greenwald, Allan W. Atlas, and Leonardo Pinzauti have called attention to Puccini's disjunctions in the realm of musical style, and in particular Ashbrook and Powers, and Cassar have suggested that Puccini may have exploited such stylistic plurality to structural ends. This dissertation explores the full implications of these suggestions in a musical-structural, formal, and narrative analysis of Turandot (1926), Puccini's last opera and the one that perhaps best illustrates the composer's disjunctive procedures. Chapter II identifies and defines through musical analysis of selected prototypical examples three musical styles on which Turandot is based: "romantic," "dissonant," and "exotic." The last of these occurs in three distinct varieties, each of which is analyzed individually: the "exotic-Chinese," "exotic-primitive," and "exotic-Persian." Chapter III studies the ways in which the styles relate to one other in the structure of the opera, identifying two primary modes of interaction: "integration," in which elements from multiple stylistic languages are combined in the texture, and "juxtaposition," in which passages in divergent styles adjoin temporally with minimal musical transition. Five different juxtaposition types are identified. Chapter IV explores implications of stylistic plurality for a reading of the opera's formal structure and narrative design. The styles are shown to be articulators of the form as well as the narrative, the latter understood within the framework of the Greimasian semiotic model. An appendix considers Franco Alfano's ending in light of the preceding analysis of Puccini's own work. The dissertation concludes that the formal priorities of nineteenth-century number opera are of lesser importance in Turandot; that Puccini's approach bears at least an abstract resemblance to other kinds of disjunctive procedures found in music of Stravinsky, Bartok, and other early-twentieth-century figures; and that Puccini's music in general, and Turandot in particular, has a place alongside the numerous stylistically innovative works composed early in the last century.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9780496418749Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

Giacomo PucciniIndex Terms--Genre/Form:

554714
Electronic books.

Structural implications of stylistic plurality in Puccini's "Turandot".
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