The Operatic Stothart

Leitmotifs and Tonal Organization in Two Versions of Rose Marie

Authors

  • Ronald Rodman Carleton College

DOI:

https://doi.org/10.1558/jfm.v4i1.5

Keywords:

Herbert Stothart, MGM, Rose-Marie, Rudolph Friml

Abstract

This is a study of the leitmotifs and tonal organization in two versions of the musical Rose Marie: the original stage version by Herbert Stothart and Rudolph Friml from 1924 and MGM's film version (under the sole direction of Stothart) from 1936.

Author Biography

  • Ronald Rodman, Carleton College

    RONALD RODMAN is Professor of Music and Director of the Carleton Symphony Band. He earned his Ph.D. in Music Theory from Indiana University in 1992. His research interests include analysis of music in the electronic media, post-tonal theory in the 20th century, Schenkerian analysis, musical signification, music theory pedagogy, and wind band music history. He serves as a consultant for the AP Music Theory program through the College Board. He has published articles for the Journal of Music Theory, College Music Symposium, and Indiana Theory Review, and has contributed chapters to several books on music and film. His recent work 'Tuning In: American Narrative Television Music', was published by Oxford University Press in 2009.

References

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Chusid, Martin. 1989. The tonality of Rigoletto. In Analyzing opera, ed. Carolyn Abbate and Roger Parker, 241-61. Berkeley: University of California Press.

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———. 2000. Tonal schemes and the aesthetic of pastiche in Herbert Stothart’s operetta musicals. In Music and cinema, ed. James Buhler and David Neumeyer, 187-206. Hanover, NH: University Press of New England.

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Published

2012-12-12

Issue

Section

Articles

How to Cite

Rodman, R. (2012). The Operatic Stothart: Leitmotifs and Tonal Organization in Two Versions of Rose Marie. Journal of Film Music, 4(1), 5-19. https://doi.org/10.1558/jfm.v4i1.5