Musical Symbolism in the Operas of Debussy and Bartók: by Elliott Antokoletz,Juana Canabal Antokoletz

By Elliott Antokoletz,Juana Canabal Antokoletz

early twentieth-century operas -- Debussy's Pelleas et Melisande (1902) and Bartok's Duke Bluebeard's Castle (1911) -- reworked the conventional major/minor scale method right into a new musical language. This new language was once established nearly completely on interactions among folks modalities and their extra summary symmetrical adjustments. Elliott Antokoletz finds not just the recent musical language of those operas, but in addition the best way they proportion a profound correspondence with the transforming into symbolist literary stream as mirrored of their libretti. within the symbolist literary stream, authors reacted to the realism of nineteenth-century theatre through conveying that means via advice, instead of direct assertion. The symbolist notion integrated a brand new curiosity in mental motivation and recognition manifested itself in metaphor, ambiguity, and symbol.

In this groundbreaking examine, Antokoletz hyperlinks the recent musical language of those operas with this symbolist perception and divulges an immediate connection among the Debussy and Bartok operas. He indicates how the opposing harmonic extremes function a foundation for the dramatic polarity among real-life beings and emblems of destiny. He additionally explores how the libretti by way of Franco-Belgian poet Maurice Maeterlinck (Pelleas et Melisande) and his Hungarian disciple Bela Balazs (Duke Bluebeard's Castle) rework the interior idea of unconscious motivation into an exterior one, one during which destiny controls human feelings and actions.

Using a pioneering method of theoretical research, Antokoletz, explores the hot musico-dramatic family members inside their better old, social mental, philosophical, and aesthetic contexts.

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