Abstract
Studies of Puccini’s melodies have generally assumed a cellular or motivic construction and have employed corresponding analytical approaches. Such motivic arguments seek to explore the coherence and interrelatedness of pitch structures, but seldom venture into broader issues of diachronic process and hermeneutics. By applying a form of linear-contrapuntal reductive analysis, allied with theories of melodic expectation, to selected arias from Puccini, this article argues that Puccini’s melodies not only comply with traditional patterns of counterpoint and voice leading but also exploit them to generate effective dynamic linear shapes. Correlations are suggested between these analytical results and the drama.
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