04894nam 22006614a 450 991095796580332120251116165801.01-280-45250-197866104525070-19-535595-41-4237-2631-61-60256-109-5(CKB)1000000000245647(StDuBDS)AH24083916(SSID)ssj0000207182(PQKBManifestationID)11189481(PQKBTitleCode)TC0000207182(PQKBWorkID)10228373(PQKB)11182527(MiAaPQ)EBC3051978(Au-PeEL)EBL3051978(CaPaEBR)ebr10103537(CaONFJC)MIL45250(OCoLC)640069775(MiAaPQ)EBC272354(Au-PeEL)EBL272354(MiAaPQ)EBC7039243(Au-PeEL)EBL7039243(PPN)182033848(OCoLC)1178930361(EXLCZ)99100000000024564720030318d2004 uy 0engur|||||||||||txtccrMusical symbolism in the operas of Debussy and Bartok trauma, gender, and the unfolding of the unconscious /Elliott Antokoletz with the collaboration of Juana Canabal Antokoletz1st ed.Oxford ;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.Intro -- Contents -- 1. Backgrounds and Development: The New Musical Language and Its Correspondence with Psycho-Dramatic Principles of Symbolist Opera -- 2. The New Musical Language -- 3. Trauma, Gender, and the Unfolding of the Unconscious -- 4. Pelléas et Mélisande: Polarity of Characterizations: Human Beings as Real-Life Individuals and Instruments of Fate -- 5. Pelléas et Mélisande: Fate and the Unconscious: Transformational Function of the Dominant Ninth Chord -- Symbolism of Sonority -- 6. Pelléas et Mélisande: Musico-Dramatic Turning Point: Intervallic Expansion as Symbol of Dramatic Tension and Change of Mood -- 7. Pelléas et Mélisande: Mélisande as Christ Symbol-Life, Death, and Resurrection-and Motivic Reinterpretations of the Whole-Tone Dyad -- 8. Pelléas et Mélisande: Circuity of Fate and Resolution of Mélisande's Dissonant Pentatonic-Whole-Tone Conflict -- 9. Duke Bluebeard's Castle: Psychological Motivation: Symbolic Interaction of Diatonic, Whole-Tone, and Chromatic Extremes -- 10. Duke Bluebeard's Castle: Toward Character Reversal: Reassignment of Pentatonic and Whole-Tone Spheres -- 11. Duke Bluebeard's Castle: The Nietzschean Condition and Polarity of Characterizations: Diatonic-Chromatic Extremes -- 12. Duke Bluebeard's Castle: Final Transformation and Retreat into Eternal Darkness: Synthesis of Pentatonic/Diatonic and Whole-Tone Spheres -- 13. Symbolism and Expressionism in Other Early Twentieth-Century Operas -- Epilogue -- Notes -- Works Cited -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z.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 musicSymbolism in music.782.1/092/2Antokoletz Elliott1860372Antokoletz Juana Canabal1860373MiAaPQMiAaPQMiAaPQBOOK9910957965803321Musical symbolism in the operas of Debussy and Bartok4465209UNINA