Common-tone Tonality in Italian Romantic Opera
An Introduction
Bibliographic Data
| ID | 4390293 |
|---|---|
| Authors | William Rothstein (Queens College and CUNY Graduate Center, corresponding author) |
| Year | 2008 |
| Volume | 14 |
| Issue | 1 |
| Publication date | 2008-03-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.14.1.3 |
| OpenAlex | W2341235339 |
| Language | EN |
| Citations received | 2 |
| References cited | 1 |
Some compositional techniques usually associated with German Romantic music, such as tonal pairing and the frequent use of chromatic mediants, may have originated in Italian opera. These techniques are traced from Rossini's Tancredi (1813) to Verdi's Il trovatore (1853). Similarities to pre-tonal and twentieth-century neoclassical music are considered. In studying and teaching nineteenth-century music, theorists should broaden their focus beyond the Austro-German repertoire. The notion of "common practice" is misleading and should be abandoned
Art · German · Linguistics · Literature · Musical · Opera · Repertoire · Romance · Tonality · Diverse Musicological Studies · History · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy
| Unique citing works | 2 |
|---|---|
| Citations per year | 0.17 |
| Citation span | 2014 - 2018 (5) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |