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The Musical Language of Italian Opera, 1813-1859 examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, showing how certain recurring principles define a distinctively Italian practice that left its mark on the German repertoire more familiar to music theorists.
William Rothstein is Professor of Music Theory at Queens College and The Graduate Center of the City University of New York. He previously taught at Amherst College, Oberlin College, and the University of Michigan. He is author of Phrase Rhythm in Tonal Music and co-author (with Charles Burkhart) of Anthology for Musical Analysis. He has written and lectured extensively on music of the eighteenth and nineteenth centuries, with special emphasis on musical rhythm, Schenkerian theory and analysis, and nineteenth-century Italian opera.
Preface
Acknowledgments
Introduction: What is there to analyze?
Part One: La Via Italiana
Chapter 1. The Anvil Chorus
Chapter 2. Theoretical contexts I: Nineteenth-century theory
Chapter 3. Theoretical contexts II: Schenker and Riemann
Chapter 4. Rhythm and meter
Chapter 5. Musical form
Part Two: Rossini
Chapter 6. Rossini's mediants
Chapter 7. Tonal coherence in Rossini's Italian operas
Chapter 8. Guillaume Tell
Part Three: Between Rossini and Verdi
Chapter 9. Bellini and the new diatonicism
Chapter 10. Meyerbeer and the new chromaticism
Chapter 11. Around 1840: Mercadante and Donizetti
Part Four: Verdi's Sedici Anni
Chapter 12. Ernani to Attila (1844-1846)
Chapter 13. Rigoletto and Il trovatore (1851-1853)
Chapter 14. Les vêpres siciliennes to Un ballo in maschera (1854-1859)
Afterword: Verdi and His Predecessors
Selected bibliography
Index
