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Musical Narrative in Three American One-Act Operas with Libretti By Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Musical Narrative in Three American One- Act Operas with Libretti by Gian Carlo Menotti: A Hand of Bridge, The Telephone, and Introductions and Good-Byes Elizabeth Lena Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSICAL NARRATIVE IN THREE AMERICAN ONE-ACT OPERAS WITH LIBRETTI BY GIAN CARLO MENOTTI: A HAND OF BRIDGE, THE TELEPHONE, AND INTRODUCTIONS AND GOOD-BYES By ELIZABETH LENA SMITH A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2005 Copyright © 2005 Elizabeth Lena Smith All Rights Reserved The members of the Committee approve the dissertation of Elizabeth Lena Smith defended on March 14, 2005. ___________________________ Jane Piper Clendinning Professor Directing Dissertation ___________________________ Larry J. Gerber Outside Committee Member ___________________________ Michael H. Buchler Committee Member ___________________________ Matthew L. Lata Committee Member ___________________________ Matthew R. Shaftel Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To someone I once knew… iii ACKNOWLEDGEMENTS I wish to extend my appreciation to my advisor Prof. Jane Piper Clendinning for her continuous support and guidance through the preparation of this document as well as related proposals and presentations that preceded it. In every aspect of my doctoral experience, her encouragement and thoughtful counsel has proven invaluable. Also, my gratitude goes to Prof. Matthew Shaftel (whose doctoral seminar inspired this project) and Prof. Michael Buchler for their thoughtful critiques. I would like to thank Prof. Matthew Lata and Prof. Larry Gerber for their comments, giving unique perspectives and extensive attention to detail. I would also like to acknowledge Prof. John Degan, who passed away shortly after the preliminary exams for this project. I hope that this document is one that he would have been proud to see in its final form. I am blessed with a remarkable family to whom I am infinitely grateful. I wish that I could have been nearer these past years, but I thank you for keeping me in your hearts and always welcoming me back home. Words simply cannot express the love and respect I have for my parents. Their magnanimous support gave me the strength to succeed on my own while never actually being alone. And to all those in my Florida family, thank you for making Tallahassee a place I wanted to be—celebrating even the smallest accomplishments, editing drafts, supporting and caring for me personally and academically. My friends, I truly love you all. iv TABLE OF CONTENTS List of Tables ...................................................................................................................... vii List of Figures.....................................................................................................................viii Abstract............................................................................................................................... xii 1. CHAPTER ONE: CURRENT STUDY AND METHODOLOGY .................................1 I. The Current Study of One-Act Operas.................................................................2 II. Methodology .......................................................................................................4 III. American Society Post-WWII ...........................................................................9 IV. Librettist and Composers..................................................................................14 Gian Carlo Menotti, the Librettist................................................................14 Menotti, Opera Composer (circa 1938-1947)..............................................16 Samuel Barber, Opera Composer ................................................................19 Lukas Foss, Opera Composer ......................................................................20 2. CHAPTER TWO: APPROACHES TO OPERA ANALYSIS.......................................22 I. Background and Significance..............................................................................22 II. Analytical Approaches to Opera ........................................................................24 III. Critical Perspectives..........................................................................................28 Musical Narrative.........................................................................................28 Feminist Theories.........................................................................................30 IV. Conclusion ........................................................................................................31 3. CHAPTER THREE: ANALYSIS OF BARBER’S A HAND OF BRIDGE...................32 I. Introduction to A Hand of Bridge........................................................................32 II. Card Music and the Symbols of Bridge .............................................................34 III. Sally ..................................................................................................................40 IV. Bill ....................................................................................................................44 V. Geraldine............................................................................................................47 VI. David.................................................................................................................53 VII. Conclusions .....................................................................................................56 v 4. CHAPTER FOUR: ANALYSIS OF MENOTTI’S THE TELEPHONE........................58 I. Synopsis of The Telephone..................................................................................58 II. The Telephone on Stage and Beyond .................................................................60 III. Current Scholarship ..........................................................................................61 IV. Margaret’s Call: A Conversational Model .......................................................63 V. Wrong Number & Call for Time........................................................................67 VI. George’s Call....................................................................................................73 VII. Lucy’s Call to Pamela .....................................................................................77 VIII. Ben’s Call: The Proposal ...............................................................................84 IX. Conclusions.......................................................................................................88 5. CHAPTER FIVE: ANALYSIS OF FOSS’ INTRODUCTIONS AND GOOD-BYES ....90 I. Synopsis of Introductions and Good-Byes ..........................................................90 II. History of Introductions and Good-Byes ...........................................................91 III. Reflexivity and the Chiasmus ...........................................................................92 IV. Prelude ..............................................................................................................97 V. Introductions ......................................................................................................99 VI. Conversations ..................................................................................................104 VII. Good-Byes......................................................................................................106 VIII. Epilogue ........................................................................................................107 IX. Conclusions......................................................................................................109 6. CHAPTER SIX: CONCLUSIONS................................................................................110 APPENDIX A.....................................................................................................................115 APPENDIX B .....................................................................................................................117 BIBLIOGRAPHY...............................................................................................................119 BIOGRAPHICAL SKETCH ..............................................................................................128 vi LIST OF TABLES 3.1 Chart of Card Text from Barber: A Hand of Bridge ................................................37 3.2 Chart of Structure, Themes, and Tonal Areas in Barber: A Hand of Bridge ...........39 3.3 Diagram of Accompaniment Pattern for Geraldine’s Aria from Barber: A Hand of Bridge (corresponds with music from Figure 3.8a).............................................49 4.1. Musical Support of Drama in Menotti: The Telephone (First Call).........................67 5.1 Key Areas and Variation Type for Accompaniment Pattern in Foss: Introductions. and Good-Byes, bars 154-236.................................................................................103 vii LIST OF FIGURES 1.1 A Hat of Peacock Feathers. From www.uniquebeadedjewelry.com/othercoolstuff/hat1.jpg ........................................11
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