A Study On The "Tinta" Of Puccini's Opera Music

Tinta is a term that first used by Abramo Basevi who is an Italian musicologist in 19th-century and by Verdi to describe the most outstanding musical personality of an opera work.Such kind of musical personality is captured the atmosphere,characteristic and poetic style that pervasive in most of the opera scenes.In This dissertation,I take four works of Puccini as subject investigated,which are Monon Lescaut,La Boheme,Madama Butterfly and Turandot.All of these four works has a prominent local color and psychological tinta,and presented the different tinta ideas and techniques of Puccini in different times.The introduction chapter has elaborated the concept of tinta,has retrospect the history of tinta,and summarized how to study and analysis it.The first chapter has introduced issues about the tinta of Puccini's opera works,and expounded the relationship between Puccini's international composition technique and the way he constructed the opera tinta.The second chapter has analyzed the tinta of Monon Lescaut,focus on the 18th century color and desperate passion emotion of the musical tinta.The third chapter has analyzed La Boheme,focus on the youthful vitality and the sadness of the young people,which are the psychological tinta of this opera.And also elaborated how the music has present the prosperous and bustling scene of 19century's Paris.The fourth chapter has introduced the Japonism in 19th century Europe,introduced several japonism opera before Madama Butterfly,elaborated the relationship between verismo aesthetic and the Japan tinta of this opera,and how did Puccini construct the Japan tinta by music.The fifth chapter has analyzed the Chinese tinta of Turandot through Chinese melodies Puccini had used,and through his mock-Chinese style music.And has illuminated how Puccini absorb the modern music style and technique to created the Chinese tinta of his swan song.The Final chapter is a conclusion of Puccini 's opera tinta.