John Adams's Nixon in China

Regular price €65.99
A01=Timothy A. Johnson
Author_Timothy A. Johnson
Cadential Chord
Category=AVA
Category=AVLA
Category=AVLF
Chinese Communist Party
chord
chords
Chou En-lai
Contextual Inversion
dominant
Dominant Ninth Chord
Dominant Seventh Chord
Eighth Note
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
harmonic
Harmonic Transformations
Hexatonic Systems
interdisciplinary opera analysis
line
LP Transformation
major
Major Triads
Mao Zedong
melodic
Melodic Line
Metrical Dissonance
minor
Minor Triad
motivic development
neo-Riemannian theory
Nonchord Tone
opera harmony analysis
political musicology
Quarter Note Triplets
Red Detachment
rhythm and metre studies
seventh
Seventh Chords
SLIDE Transformation
States Secretary
Steinberg 1987b
triad
twentieth-century composition
Yangtze
Yangtze River
Yellow Crane

Product details

  • ISBN 9781138250314
  • Weight: 550g
  • Dimensions: 156 x 234mm
  • Publication Date: 11 Oct 2016
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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John Adams's opera, Nixon in China, is one of the most frequently performed operas in the contemporary literature. Timothy A. Johnson illuminates the opera and enhances listeners' and scholars' appreciation for this landmark work. This music-analytical guide presents a detailed, in-depth analysis of the music tied to historical and political contexts. The opera captures an important moment in history and in international relations, and a close study of it from an interdisciplinary perspective provides fresh, compelling insights about the opera. The music analysis takes a neo-Riemannian approach to harmony and to large-scale harmonic connections. Musical metaphors drawn between harmonies and their dramatic contexts enrich this approach. Motivic analysis reveals interweaving associations between the characters, based on melodic content. Analysis of rhythm and meter focuses on Adams's frequent use of grouping and displacement dissonances to propel the music forward or to illustrate the libretto. The book shows how the historical depiction in the opera is accurate, yet enriched by this operatic adaptation. The language of the opera is true to its source, but more evocative than the words spoken in 1972-due to Alice Goodman's marvelous, poetic libretto. And the music transcends its repetitive shell to become a hierarchically-rich and musically-compelling achievement.
Dr Timothy A. Johnson, Ithaca College, New York, USA