Cantitate/Preț
Produs

Musical Symbolism in the Operas of Debussy and Bartok: Trauma, Gender, and the Unfolding of the Unconscious

Autor Elliot Antokoletz
en Limba Engleză Paperback – 20 mar 2008
Musical Symbolism in the Operas of Debussy and Bartók explores the means by which two early 20th century operas - Debussy's Pelléas et Mélisande (1902) and Bartók'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, Béla Balázs. 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.
Citește tot Restrânge

Preț: 30790 lei

Preț vechi: 33452 lei
-8% Nou

Puncte Express: 462

Preț estimativ în valută:
5893 6105$ 4918£

Carte tipărită la comandă

Livrare economică 10-17 martie

Preluare comenzi: 021 569.72.76

Specificații

ISBN-13: 9780195365825
ISBN-10: 0195365828
Pagini: 352
Dimensiuni: 156 x 234 x 22 mm
Greutate: 0 kg
Editura: Oxford University Press
Colecția OUP USA
Locul publicării:New York, United States

Notă biografică

Elliott Antokoletz received the Béla Bártok 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. He received his Ph.D in musicology from CUNY in 1975.