LEADER 03209nam 22006254a 450 001 9910783689703321 005 20221108003600.0 010 $a1-280-45250-1 010 $a9786610452507 010 $a0-19-535595-4 010 $a1-4237-2631-6 010 $a1-60256-109-5 035 $a(CKB)1000000000245647 035 $a(StDuBDS)AH24083916 035 $a(SSID)ssj0000207182 035 $a(PQKBManifestationID)11189481 035 $a(PQKBTitleCode)TC0000207182 035 $a(PQKBWorkID)10228373 035 $a(PQKB)11182527 035 $a(MiAaPQ)EBC3051978 035 $a(Au-PeEL)EBL3051978 035 $a(CaPaEBR)ebr10103537 035 $a(CaONFJC)MIL45250 035 $a(OCoLC)640069775 035 $a(MiAaPQ)EBC272354 035 $a(Au-PeEL)EBL272354 035 $a(MiAaPQ)EBC7039243 035 $a(Au-PeEL)EBL7039243 035 $a(PPN)182033848 035 $a(EXLCZ)991000000000245647 100 $a20030318d2004 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMusical symbolism in the operas of Debussy and Bartok$b[electronic resource] $etrauma, gender, and the unfolding of the unconscious /$fElliott Antokoletz with the collaboration of Juana Canabal Antokoletz 210 $aOxford ;$aNew York $cOxford University Press$d2004 215 $a1 online resource (xiv, 346 p. )$cill 300 $aOriginally published: 2004. 311 $a0-19-510383-1 320 $aIncludes bibliographical references (p. 331-340) and index. 330 $bMusical 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. 606 $aSymbolism in music 615 0$aSymbolism in music. 676 $a782.1/092/2 700 $aAntokoletz$b Elliott$01486390 701 $aAntokoletz$b Juana Canabal$01486391 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910783689703321 996 $aMusical symbolism in the operas of Debussy and Bartok$93705861 997 $aUNINA