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Tonal Structures in Bellini

Tonal Structures in Bellini The operas of Vincenzo Bellini (1801–35) exhibit compositional traits that, in North American scholarship, have generally been associated with German composers, especially Wagner. Close analysis of passages from Norma, La straniera , and other operas establishes the prevalence in Bellini of tonal pairing, usually (but not always) involving relative keys. The sonorità or focal melodic pitch, long associated with Verdi’s operas, is found to play a unifying role in the second-act finale of Norma . Issues of reception history, text criticism, and analytical methodology are also discussed. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Tonal Structures in Bellini

Rothstein, W.
Journal of Music Theory , Volume 56 (2) – Sep 21, 2012
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60 pages

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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-1650415
Publisher site
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Abstract

The operas of Vincenzo Bellini (1801–35) exhibit compositional traits that, in North American scholarship, have generally been associated with German composers, especially Wagner. Close analysis of passages from Norma, La straniera , and other operas establishes the prevalence in Bellini of tonal pairing, usually (but not always) involving relative keys. The sonorità or focal melodic pitch, long associated with Verdi’s operas, is found to play a unifying role in the second-act finale of Norma . Issues of reception history, text criticism, and analytical methodology are also discussed.

Journal

Journal of Music Theory – Duke University Press

Published: Sep 21, 2012

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