The Italian Traditions and Puccini: Compositional Theory and Practice in Nineteenth-Century Opera

Contents

• Preface and Acknowledgements
• A Note on Translation and Terminology
• 1: Musical Traditions in Nineteenth-Century Italy
• I. The Italian Schools
• II. An Introduction to the Primary Sources
• III. Puccini and the End of the Great Tradition
• 2. Studies in Lucca and Milan
• I. Composition as Craft
• II. The Istituto musicale in Lucca
• III. Scarpia and the Partimento Cadence
• IV. The Conservatorio di Milano
• 3. Lessons in Dramatic Composition I: Rhythm
• I. Rhythm without Measure, Accent without Beat
• II. Rules of Versification, Lippmann's Rhythmic-Musical Types, and Two Case-Studies
• III. Historical Survey of Writings on Ritmo
• IV. Short Case-Studies from Bellini and Puccini
• 4. Lessons in Dramatic Composition II: Harmony and Counterpoint
• I. The Partimento Tradition
• II. Michele Puccini's Corso pratico di contrappunto (1846)
• III. The Bolognese Attachment, or "Little Keys for Winding Clocks"
• IV. Regular Motions and Melodic Composition
• 5. Lessons in Dramatic Composition III: Affect, Imitation, and Conduct
• I. Dominant Affects and their Movements
• II. Physical and Sentimental Imitation
• III. Form and Conduct
• IV. Case-Studies from Verdi, Boito, and Puccini
• 6. Vocalizzi, Solfeggi, and Real (or Ideal) Composition
• I. Lessons in Singing and Counterpoint
• II. Lessons in Singing and Solfeggio
• III. From Solfeggio to Ideal Composition in Puccini (and Bellini)
• Notes
• Bibliography
• Index of Concepts
• Index of Names and Works