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

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