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003 OCoLC;

005 20141212181500.0;

008 030318s2004 enka b 001 0 eng ;

010 a| 2003006592;

019 a| 56351234;

020 a| 0195103831 (hardcover);

035 a| (Sirsi) o51900211;

035 a| (OCoLC)51900211;

040 a| DLCc| DLCd| EREd| UtOrBLW;

042 a| pcc;

049 a| EREM;

050 00 a| ML1705b| .A41 2004;

082 00 a| 782.1/092/22| 21;

100 1 a| Antokoletz, Elliott.=| ^A175316;

245 10 a| Musical symbolism in the operas of Debussy and Bartok :b| trauma, gender, and the unfolding of the unconscious /c| Elliott Antokoletz with the collaboration of Juana Canabal Antokoletz.;

260 a| Oxford ;a| New York :b| Oxford University Press,c| 2004.;

300 a| xiv, 346 pages :b| illustrations ;c| 25 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 331-340) and index.;

505 00 g| Backgrounds and development:t| the new musical language and its correspondence with psycho-dramatic principles of symbolist opera --g| The new musical language --t| Trauma, gender, and the unfolding of the unconscious --t| 'Pelléas et Mélisande': Polarity of characterizations: human beings as real-life individuals and instruments of fate --t| 'Pelléas et Mélisande': Fate and the unconscious: transformational function of the dominant ninth chord, symbolism of sonority --t| 'Pelléas et Mélisande': Musico-dramatic turning point: intervallic expansion as symbol of dramatic tension and change of mood --t| 'Pelléas et Mélisande': Mélisande as Christ symbol- life, death, and resurrection- and motivic reinterpretations of the whole-tone dyad --t| 'Pelléas et Mélisande': Circuity of fate and resolution of Mélisande's dissonant pentatonic- whole-tone conflict --t| 'Duke Bluebeard's Castle': Psychological motivation: symbolic interaction of diatonic, whole-tone, and chromatic extremes --t| 'Duke Bluebeard's Castle': Toward character reversal: reassignment of pentatonic and whole-tone spheres --t| 'Duke Bluebeard's Castle': The Nietzschean condition and polarity of characterizations: diatonic-chromatic extremes --t| 'Duke Bluebeard's Castle': Final transformation and retreat into eternal darkness: synthesis of pentatonic/ diatonic and whole-tone spheres --t| Symbolism and expressionism in other early Twentieth-century operas.;

520 a| Two early twentieth-century operas--Debussy's Pelleas et Melisande (1902) and Bartok's Duke Bluebeard's Castle (1911)--transformed the traditional major/minor scale system into a new musical language. This new language was based almost exclusively on interactions between folk modalities and their more abstract symmetrical transformations. The author reveals not only the new musical language of these operas but also the way in which they share a profound correspondence with the growing symbolist literary movement as reflected in their librettos. In the symbolist literary movement, authors reacted to the realism of nineteenth-century theater by conveying meaning by suggestion, rather than direct statement. The symbolist conception included a new interest in psychological motivation, and consciousness manifested itself in metaphor, ambiguity, and symbol. This study links the new musical language of these two operas with this symbolist conception and reveals a direct connection between the Debussy and Bartok operas. The author shows how the opposing harmonic extremes serve as a basis for the dramatic polarity between real-life beings and symbols of fate. He also explores how the librettos by Franco-Belgian poet Maurice Maeterlinck (Pelleas et Melisande) and his Hungarian disciple Bela Balazs (Duke Bluebeard's Castle) transform the internal concept of subconscious motivation into an external one, one in which fate controls human emotions and actions. Using a pioneering approach to theoretical analysis, the author explores the new musico-dramatic relations within their larger historical, social, psychological, philosophical, and aesthetic contexts.;

600 10 a| Debussy, Claude,d| 1862-1918.t| Pelléas et Mélisande.=| ^A496921;

600 10 a| Bartók, Béla,d| 1881-1945.t| Kékszakállú herceg vára.=| ^A504392;

650 0 a| Symbolism in music.=| ^A40795;

700 1 a| Antokoletz, Juana Canabal.=| ^A592551;

994 a| C0b| ERE;

596 a| 3;

998 a| 989192;

999 a| ML1705 .A41 2004w| LCc| 1i| 30372012664261d| 1/15/2025e| 12/11/2024f| 4/9/2024g| 4l| MSTm| JMUSICn| 6q| 1r| Ys| Yt| MGESBKu| 2/22/2005x| BOOKz| MCIRCo| .STAFF. enhanced 1/19/23 -jjab;

Musical symbolism in the operas of Debussy and Bartok : trauma, gender, and the unfolding of the unconscious / Elliott Antokoletz with the collaboration of Juana Canabal Antokoletz.

Author/creator	Antokoletz, Elliott
Other author	Antokoletz, Juana Canabal.
Format	Book
Publication Info	Oxford ; New York : Oxford University Press, 2004.
Description	xiv, 346 pages : illustrations ; 25 cm
Subjects	Debussy, Claude, 1862-1918. Pelléas et Mélisande. Bartók, Béla, 1881-1945. Kékszakállú herceg vára. Symbolism in music.

Contents	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 -- '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, symbolism of sonority -- '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 extremes -- 'Duke Bluebeard's Castle': Toward character reversal: reassignment 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 and retreat into eternal darkness: synthesis of pentatonic/ diatonic and whole-tone spheres -- Symbolism and expressionism in other early Twentieth-century operas.
Abstract	Two early twentieth-century operas--Debussy's Pelleas et Melisande (1902) and Bartok's Duke Bluebeard's Castle (1911)--transformed the traditional major/minor scale system into a new musical language. This new language was based almost exclusively on interactions between folk modalities and their more abstract symmetrical transformations. The author reveals not only the new musical language of these operas but also the way in which they share a profound correspondence with the growing symbolist literary movement as reflected in their librettos. In the symbolist literary movement, authors reacted to the realism of nineteenth-century theater by conveying meaning by suggestion, rather than direct statement. The symbolist conception included a new interest in psychological motivation, and consciousness manifested itself in metaphor, ambiguity, and symbol. This study links the new musical language of these two operas with this symbolist conception and reveals a direct connection between the Debussy and Bartok operas. The author shows how the opposing harmonic extremes serve as a basis for the dramatic polarity between real-life beings and symbols of fate. He also explores how the librettos by Franco-Belgian poet Maurice Maeterlinck (Pelleas et Melisande) and his Hungarian disciple Bela Balazs (Duke Bluebeard's Castle) transform the internal concept of subconscious motivation into an external one, one in which fate controls human emotions and actions. Using a pioneering approach to theoretical analysis, the author explores the new musico-dramatic relations within their larger historical, social, psychological, philosophical, and aesthetic contexts.
Bibliography note	Includes bibliographical references (pages 331-340) and index.
LCCN	2003006592
ISBN	0195103831 (hardcover)

Musical symbolism in the operas of Debussy and Bartok : trauma, gender, and the unfolding of the unconscious / Elliott Antokoletz with the collaboration of Juana Canabal Antokoletz.

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