LEADER 04894nam 22006614a 450 001 9910957965803321 005 20251116165801.0 010 $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(OCoLC)1178930361 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 $etrauma, gender, and the unfolding of the unconscious /$fElliott Antokoletz with the collaboration of Juana Canabal Antokoletz 205 $a1st ed. 210 $aOxford ;$aNew York $cOxford University Press$d2004 215 $a1 online resource (xiv, 346 p. )$cill 300 $aOriginally published: 2004. 311 08$a0-19-510383-1 320 $aIncludes bibliographical references (p. 331-340) and index. 327 $aIntro -- 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. 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$01860372 701 $aAntokoletz$b Juana Canabal$01860373 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910957965803321 996 $aMusical symbolism in the operas of Debussy and Bartok$94465209 997 $aUNINA