Zusatztext For its organization, scope, and rigorous theoretic-analytical scrutiny, the book is a landmark in multidisciplinary studies that surround the dramaturgical and musical concepts of these two Symbolist operas. It integrates insights from psychoanalysis, feminist studies, and post-tonal theory to enrich our understanding of dramatic meaning suggested by the musical symbolism. The book is remarkable for its in-depth musical approach to a variety of psychological, social, and historical issues, which the author has drawn into the aesthetic orbit of these pioneering operas. Informationen zum Autor Elliott Antokoletz is Professor of Musicology at the University of Texas at Austin. He received the Bela Bartok Memorial Plaque and Diploma from the Hungarian Government in 1981. He is author of several books and co-editor of the International Journal of Musicology. Klappentext This book explores the means by which the operas of Debussy and Bartók transform the structures of the traditional harmonic system into a new musical language. Antokoletz formulates new theoretic-analytic principles and describes how these principles link various historical and cultural as well as philosophical and psychological issues of the early twentieth century within the operatic milieu. The new musical language described here is based almost exclusively on interactions between folk modalities and their more abstract symmetrical transformations. Zusammenfassung This book explores the means by which the operas of Debussy and Bartok transform the structures of the traditional harmonic system into a musical language. It formulates theoretic-analytic principles and describes how these principles link various historical, cultural, philosophical and psychological issues of the early 20th century within opera. Inhaltsverzeichnis Preface;Acknowledgments 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 in the Debussy and Bartok Operas 4: Pelleas et Melisande: Polarity of Characterisations: Human Beings as Real Life Individuals and Instruments of Fate 5: Pelleas et Melisande:Fate and the Unconscious: Transformational Function of the Dominant-ninth Chord 6: Pelleas et Melisande: Musico-Dramatic Turning Point: Intervallic Expansion as Symbol of Dramatic Tension and Change of Mood 7: Pelleas et Melisande: Melisande as Christ Symbol - Life, Death and Resurrection- and Motivic Representations of the Whole-Tone Dyad 8: Pelleas et Melisande: Circuity of Fate and Resolution of Melisande'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 Characterisations; Diatonic-chromatic Extremes 12: Duke Bluebeard's Castle: Final Transformation, Ambiguous Tonal Cycle, Retreat into Eternal Darkness; Synthesis of Pentatonic/Diatonic and Whole-tone Spheres 13: Symbolism and Expression in Other Early Twentieth-century Operas 14: Epilogue ...

Autorentext

Elliott Antokoletz is Professor of Musicology at the University of Texas at Austin. He received the Bela Bartok Memorial Plaque and Diploma from the Hungarian Government in 1981. He is author of several books and co-editor of the International Journal of Musicology.

Klappentext

This book explores the means by which the operas of Debussy and Bartók transform the structures of the traditional harmonic system into a new musical language. Antokoletz formulates new theoretic-analytic principles and describes how these principles link various historical and cultural as well as philosophical and psychological issues of the early twentieth century within the operatic milieu. The new musical language described here is based almost exclusively on interactions between folk modalities and their more abstract symmetrical transformations.

Zusammenfassung
This book explores the means by which the operas of Debussy and Bartok transform the structures of the traditional harmonic system into a musical language. It formulates theoretic-analytic principles and describes how these principles link various historical, cultural, philosophical and psychological issues of the early 20th century within opera.

Inhalt

• Preface;Acknowledgments

• 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 in the Debussy and Bartok Operas

• 4: Pelleas et Melisande: Polarity of Characterisations: Human Beings as Real Life Individuals and Instruments of Fate

• 5: Pelleas et Melisande:Fate and the Unconscious: Transformational Function of the Dominant-ninth Chord

• 6: Pelleas et Melisande: Musico-Dramatic Turning Point: Intervallic Expansion as Symbol of Dramatic Tension and Change of Mood

• 7: Pelleas et Melisande: Melisande as Christ Symbol - Life, Death and Resurrection- and Motivic Representations of the Whole-Tone Dyad

• 8: Pelleas et Melisande: Circuity of Fate and Resolution of Melisande'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 Characterisations; Diatonic-chromatic Extremes

• 12: Duke Bluebeard's Castle: Final Transformation, Ambiguous Tonal Cycle, Retreat into Eternal Darkness; Synthesis of Pentatonic/Diatonic and Whole-tone Spheres

• 13: Symbolism and Expression in Other Early Twentieth-century Operas

• 14: Epilogue