The Operatic Stothart
Leitmotifs and Tonal Organization in Two Versions of Rose Marie
DOI:
https://doi.org/10.1558/jfm.v4i1.5Keywords:
Herbert Stothart, MGM, Rose-Marie, Rudolph FrimlAbstract
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.
References
Altman, Rick. 1987. The American film musical. Bloomington and Indianapolis: Indiana University Press.
Antheil, George. 1936. On the Hollywood front. Modern Music14, no. 1: 49.
Balthazar, Scott. 1996. Plot and tonal design as compositional constraints. Current Musicology 60/61: 51-78.
Bordman, Gerald. 1981. American operetta: From HMS Pinafore to Sweeney Todd. New York: Oxford University Press.
Chusid, Martin. 1989. The tonality of Rigoletto. In Analyzing opera, ed. Carolyn Abbate and Roger Parker, 241-61. Berkeley: University of California Press.
Friml, Rudolf and Herbert Stothart. 1924. Rose-Marie. Gilliam, Bryan. 1991. Richard Strauss’ Electra. Oxford: Clarendon Press.
George, Graham. 1970. Tonality and musical structure. London: Faber.
Grey, Thomas. 1995. Wagner’s musical prose. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511470301
Kerman, Joseph. 1988. Opera as drama. Berkeley and Los Angeles: University of California Press.
Kinderman, William and Harald Krebs. 1996. The second practice of nineteenth-century tonality. Lincoln and London: University of Nebraska Press.
Paquin, Alexandre. 2001. The singing Mountie gets his man, Hollywood gets an F in geography: Rose-Marie (1936). The Film Tribune (23 July). www.filmtribune.com/rosemarie.html.
Parker, Roger. 1992. Counterpoint: A key for Chi? Tonal areas in Puccini. Nineteenth-Century Music 15, no. 3: 231.
Rodman, Ronald. 1998. There’s no place like home: Tonal closure and design in The Wizard of Oz. Indiana Theory Review 19: 125-43.
———. 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.
Steiner, Fred. 1989. What were musicians saying about movie music during the first decade of sound? A symposium of selected writings. In Film music 1, ed. Clifford McCarty, 81-108. New York and London: Garland Publishing.
Traubner, Richard. 1983. Operetta: A theatrical history. New York: Doubleday.
Wagner, Richard. 1892-99. Richard Wagner’s prose works, vol. 2, Opera and drama, trans. William Ashton Ellis. London: Routledge and Kegan Paul; reprint edn, New York: Broude Brothers, 1966.
Antheil, George. 1936. On the Hollywood front. Modern Music14, no. 1: 49.
Balthazar, Scott. 1996. Plot and tonal design as compositional constraints. Current Musicology 60/61: 51-78.
Bordman, Gerald. 1981. American operetta: From HMS Pinafore to Sweeney Todd. New York: Oxford University Press.
Chusid, Martin. 1989. The tonality of Rigoletto. In Analyzing opera, ed. Carolyn Abbate and Roger Parker, 241-61. Berkeley: University of California Press.
Friml, Rudolf and Herbert Stothart. 1924. Rose-Marie. Gilliam, Bryan. 1991. Richard Strauss’ Electra. Oxford: Clarendon Press.
George, Graham. 1970. Tonality and musical structure. London: Faber.
Grey, Thomas. 1995. Wagner’s musical prose. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511470301
Kerman, Joseph. 1988. Opera as drama. Berkeley and Los Angeles: University of California Press.
Kinderman, William and Harald Krebs. 1996. The second practice of nineteenth-century tonality. Lincoln and London: University of Nebraska Press.
Paquin, Alexandre. 2001. The singing Mountie gets his man, Hollywood gets an F in geography: Rose-Marie (1936). The Film Tribune (23 July). www.filmtribune.com/rosemarie.html.
Parker, Roger. 1992. Counterpoint: A key for Chi? Tonal areas in Puccini. Nineteenth-Century Music 15, no. 3: 231.
Rodman, Ronald. 1998. There’s no place like home: Tonal closure and design in The Wizard of Oz. Indiana Theory Review 19: 125-43.
———. 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.
Steiner, Fred. 1989. What were musicians saying about movie music during the first decade of sound? A symposium of selected writings. In Film music 1, ed. Clifford McCarty, 81-108. New York and London: Garland Publishing.
Traubner, Richard. 1983. Operetta: A theatrical history. New York: Doubleday.
Wagner, Richard. 1892-99. Richard Wagner’s prose works, vol. 2, Opera and drama, trans. William Ashton Ellis. London: Routledge and Kegan Paul; reprint edn, New York: Broude Brothers, 1966.
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
