Musical Structures in Wagnerian Opera

"Marshall Tuttle brings a fresh analysis, one that suggests that the ‘problem’ of Wagner’s music may not be as complex as traditional discussions suggest. . . . Musical Structures in Wagnerian Opera is technically detailed, simultaneously discussing Wagner’s own commentary on his musical intentions and how traditional analytic methods confirm these intents. Tuttle’s book reveals both surface-level and unstated, hidden tonal events . . . . a persuasive argument for a viable hypothesis: Richard Wagner exercised absolute command over traditional Western musical harmony, utilizing it for thorough in-depth portrayal of fantastic dramatic characters and events. For Tuttle, the outcome of careful, painstaking analysis results in confirming Wagner’s own words as well as a clearer (though still complex) understanding of his operas. The outcome will keep the Wagnerian debate percolating for generations to come." Harold E. Fiske

Table of contents (main headings):
Preface by Leland Smith
1. Introduction
2. Late Wagnerian Harmonic Grammar: General Principles of Wagner’s Tonal System (Basic Definitions; Analytical Methods – Roman Numeral Analysis; Text Key Analysis; Linear Harmonic Analysis; Sequence of Tonics); Wagner the Atonalist? (The Conspiracy Scene in Gotterdammerung; Fricka’s Lament; The Final Tristan Chord)
3. Wagner and Modulation in Tristan
4. Interlude: Tonal Association and the Poetic Music Period
5. Magic in the Ring
6. A Wagnerian Scena
7. Wotan’s Dream of Self Destruction
8. Motivic Transformations
9. Key Relationships and Tonal Association
10. Summary and Concluding Remarks
11. On Interpretation of the Ring
Bibliography; Index