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Musical Symbolism in the Operas of Debussy and Bartok - Trauma, Gender, and the Unfolding of the Unconscious (Hardcover, New)
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Musical Symbolism in the Operas of Debussy and Bartok - Trauma, Gender, and the Unfolding of the Unconscious (Hardcover, New)
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Two early twentieth-century operas -- Debussy's Pelleas et
Melisande (1902) and Bartok's Duke Bluebeard's Castle (1911) --
transformed the traditional major/minor scale system into a new
musical language. This new language was based almost exclusively on
interactions between folk modalities and their more abstract
symmetrical transformations. Elliott Antokoletz reveals not only
the new musical language of these operas, but also the way in which
they share a profound correspondence with the growing symbolist
literary movement as reflected in their libretti. In the symbolist
literary movement, authors reacted to the realism of
nineteenth-century theatre by conveying meaning by suggestion,
rather than direct statement. The symbolist conception included a
new interest in psychological motivation and consciousness
manifested itself in metaphor, ambiguity, and symbol.
In this groundbreaking study, Antokoletz links the new musical
language of these two operas with this symbolist conception and
reveals a direct connection between the Debussy and Bartok operas.
He shows how the opposing harmonic extremes serve as a basis for
the dramatic polarity between real-life beings and symbols of fate.
He also explores how the libretti by Franco-Belgian poet Maurice
Maeterlinck (Pelleas et Melisande) and his Hungarian disciple Bela
Balazs (Duke Bluebeard's Castle) transform the internal concept of
subconscious motivation into an external one, one in which fate
controls human emotions and actions.
Using a pioneering approach to theoretical analysis, Antokoletz,
explores the new musico-dramatic relations within their larger
historical, social psychological, philosophical, and aesthetic
contexts.
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