Whether you are "in the business," or a music theorist, musicologist, 
or simply an opera fan—read on! This is an analytical monograph by 
a Schenkerian theorist, but it is also written by one performer and 
enthusiast for another. Tonality as Drama draws on the fields of 
dramaturgy, music theory, and historical musicology to answer a 
fundamental question about twentieth-century music: why does 
tonality persist in opera, even after it has been abandoned in other 
genres?

    Combining the analytical approaches of the leading music and 
dramatic theorists of the twentieth century —Austrian music theorist 
Heinrich Schenker (1868–1935) and Russian director Constantin 
Stanislavsky (1863–1938)—Edward D. Latham reveals insights into 
works by Scott Joplin, George Gershwin, Kurt Weill, and Aaron 
Copland that are relevant to analysts, opera directors, and performers 
alike. Tonality as Drama is not a textbook—rather, it is an 
innovative study meant to inspire changes in the analysis and 
performance of tonal opera.

"Latham's boldest idea is that a dramatic analysis of character roles 
based on Stanislavsky's proposals may be merged with a musical 
analysis based on Schenker's proposals. His analyses are well formed 
and his application of both methodologies is thorough and 
convincing."—Andrew Davis, Moores School of Music, University 
of Houston

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EDWARD D. LATHAM received his Ph.D. from Yale University. 
He is currently assistant professor of music theory at Temple 
University's Boyer College of Music and Dance in Philadelphia. In 
addition to teaching and writing about music, Dr. Latham is a 
professional singer and church musician.