Document Type

Honors Project

Abstract

This paper examines Italian composer Giacomo Puccini’s processes of thematic development in three operas, La Bohème (1896), Tosca (1900), and Il Tabarro (1918). Puccini’s thematic development has been a point of contention for many musicologists and critics. Critics of his own time found his thematic development style to be inconsistent; some regarded his melodies as fragmented and lacking cohesion. Since then, biographers and critics such as Michele Girardi, Mosco Carner, and Alexandra Wilson have reiterated and re-examined these claims. Taken together, my three case studies conclude that Puccini’s multivalent style of thematic development is meant to depict the various effects of structural power on people representing a range of socio-economic positions.

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