Musical Symbolism in the Operas of Debussy and Bartok: Trauma, Gender, and the Unfolding of the Unconscious
- Author: Antokoletz, Elliott
Book
$60.25Special import
Contents
- 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 Characterizations: 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 Reinterpretations 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 Extemes
- 10 Duke Bluebeard's Castle: Toward Character Reversal
- Reassigment 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, Ambiguous Tonal Cycle, Retreat into Eternal Darkness
- Synthesis of Pentatonic/Diatonic and Whole-tone Spheres
- 13 Symbolism and Expressionism in Other Early Twentieth-century Operas
- 14 Epilogue