Musical Symbolism in the Operas of Debussy and Bartok
Trauma, Gender, and the Unfolding of the Unconscious
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Product details:
- Publisher OUP USA
- Date of Publication 20 March 2008
- ISBN 9780195365825
- Binding Paperback
- No. of pages352 pages
- Size 234x156 mm
- Weight 3 g
- Language English 0
Categories
Long description:
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.
MoreTable of Contents:
Preface
Acknowledgments
Backgrounds and Development: The New Musical Language and Its Correspondence with Psycho-Dramatic Principles of Symbolist Opera
The New Musical Language
Trauma, Gender, and the Unfolding of the Unconscious in the Debussy and Bartók Operas
Pelléas et Mélisande: Polarity of Characterizations: Human Beings as Real-Life Individuals and Instruments of Fate
Pelléas et Mélisande: Fate and the Unconscious; Transformational Function of the Dominant-ninth Chord
Pelléas et Mélisande: Musico-Dramatic Turning Point: Intervallic Expansion as Symbol of Dramatic Tension and Change of Mood
Pelléas et Mélisande: Mélisande as Christ Symbol - Life, Death, and Resurrection - and Motivic Reinterpretations of the Whole-Tone Dyad
Pelléas et Mélisande: Circuity of Fate and Resolution of Mélisande's Dissonant Pentatonic-Whole-tone Conflict
Duke Bluebeard's Castle: Psychological Motivation; Symbolic Interaction of Diatonic, Whole-tone and Chromatic Extemes
Duke Bluebeard's Castle: Toward Character Reversal; Reassigment of Pentatonic and Whole-tone Spheres
Duke Bluebeard's Castle: The Nietzschean Condition and Polarity of Characterizations; Diatonic-chromatic Extremes
Duke Bluebeard's Castle: Final Transformation, Ambiguous Tonal Cycle, Retreat into Eternal Darkness; Synthesis of Pentatonic/Diatonic and Whole-tone Spheres
Symbolism and Expressionism in Other Early Twentieth-century Operas
Epilogue
