000			02056cam a22003974i 4500
001			muse6886
003			MdBmJHUP
005			20240725181421.0
006			m o d
008			080325s2008 txu o 00 0 eng d
010			_z2008013679
020			_a9781574413717
035			_a(OCoLC)621699410
040			_aMdBmJHUP _beng _erda _cMdBmJHUP
043			_an-us---
050	0	4	_aMT95
050	0	4	_aMT95.P964.T663 2008
100	1		_aLatham, Edward David, _e1
245	1	0	_aTonality as Drama _bClosure and Interruption in Four Twentieth-Century American Operas / _cEdward D. Latham. _hPR
260			_aDenton, Texas : _bUniversity of North Texas Press, _c(c)2008.
264		3	_aBaltimore, Maryland : _bProject MUSE, _c2012.
300			_a1 online resource (xv, 221 pages) : _billustrations ;
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a1 (pages 193-210) and index.
505	0	0	_aTonality as drama: an introduction-- -- _tDramatic closure: the Stanislavsky system and the attainment of character objectives-- -- _tTonal closure: a Schenkerian approach to tonal drama-- -- _tThe completed background line with open-ended coda: Scott Joplin's grand opera Treemonisha (1911) ; -- _tThe multi-movement Anstieg or initial ascent: George Gershwin's folk opera Porgy and Bess (1935) ; -- _tThe multi-movement initial arpeggiation: Kurt Weill's Broadway opera Street scene (1947) ; -- _tThe prolonged permanent interruption: Aaron Copland's operatic tone poem The tender land (1954).
650		0	_aOperas _xAnalysis, appreciation.
700	1		_aProject Muse, _e1
830		0	_aBook collections on Project MUSE.
856	4	0	_uhttps://go.openathens.net/redirector/ciu.edu?url=https://muse.jhu.edu/book/5458/
942			_cOB _hMT _m2008 _eProjectMuse _i2020-12-16 _k
999			_c3689 _d3689
902			_a1 _bCynthia Snell _c1 _dCynthia Snell