01217cam0-22004331i-450 99000076931040332120200611114734.088-13-15958-7000076931FED01000076931(Aleph)000076931FED0100007693120020821d1986----km-y0itay50------baitaITa---a---001yy<<Il >>restauro della pietraLorenzo Lazzarini, Marisa Laurenzi TabassoPadovaCEDAM1986XIV, 320 p.ill.24 cmMateriali litoidiRestauroMateriali lapideiRestauro620.132028819itaLazzarini,Lorenzo<1947- >34907Laurenzi Tabasso,Marisa34908ITUNINARICAUNIMARCBK990000769310403321REST B 1031955FARBC13 A 74 0814938FINBC103008472DCATA17.032152DARST01 C IV 4602863DINSTFARBCFINBCDCATADARSTDINSTRestauro della pietra995377UNINA03171nam 22006134a 450 991045026760332120211005104024.01-280-45250-197866104525070-19-535595-41-4237-2631-61-60256-109-5(CKB)1000000000245647(StDuBDS)AH24083916(SSID)ssj0000207182(PQKBManifestationID)11189481(PQKBTitleCode)TC0000207182(PQKBWorkID)10228373(PQKB)11182527(MiAaPQ)EBC3051978(PPN)182033848(Au-PeEL)EBL3051978(CaPaEBR)ebr10103537(CaONFJC)MIL45250(OCoLC)640069775(MiAaPQ)EBC272354(Au-PeEL)EBL272354(EXLCZ)99100000000024564720030318d2004 uy 0engur|||||||||||txtccrMusical symbolism in the operas of Debussy and Bartok[electronic resource] trauma, gender, and the unfolding of the unconscious /Elliott Antokoletz with the collaboration of Juana Canabal AntokoletzOxford ;New York Oxford University Press20041 online resource (xiv, 346 p. )illOriginally published: 2004.0-19-510383-1 Includes bibliographical references (p. 331-340) and index.Musical Symbolism in the Operas of Debussy and BartOk explores the means by which two early 20th century operas - Debussy's Pelleas et Melisande^R (1902) and BartOk's Duke Bluebeard's Castle (1911) - transformed the harmonic structures of the traditional major/minor scale system into a new musical language. It also looks at how this language reflects the psychodramatic symbolism of the Franco-Belgian poet, Maurice Maeterlinck, and his Hungarian disciple, Bela Balazs. These two operas represent the first significant attempts to establish more profound correspondences between the symbolist dramatic conception and the new musical language. Duke Bluebeard's Castle is based almost exclusively on interactions between pentatonic/diatonic folk modalities and their more abstract symmetrical transformations (including whole-tone, octatonic, and other pitch constructions derived from the system of the interval cycles). The opposition of these two harmonic extremes serve as the basis for dramatic polarity between the characters as real-life beings and as instruments of fate. The book also explores the new musico-dramatic relations within their larger historical, social psychological, philosophical, and aesthetic contexts.Symbolism in musicElectronic books.Symbolism in music.782.1/092/2Antokoletz Elliott868318Antokoletz Juana Canabal1039950MiAaPQMiAaPQMiAaPQBOOK9910450267603321Musical symbolism in the operas of Debussy and Bartok2462433UNINA