Musical Symbolism In The Operas Of Debussy And Bartok

This book explores the means by which the operas of Debussy and Bartok transform the structures of the traditional harmonic system into a new musical language. Antokoletz formulates new theoretic-analytic principles and describes how these principles link various historical and cultural as well as philosophical and psychological issues of the early twentieth century within the operatic milieu.

The new musical language described here is based almost exclusively on interactions between folk modalities and their more abstract symmetrical transformations.

Review:

For its organization, scope, and rigorous theoretic-analytical scrutiny, the book is a landmark in multidisciplinary studies that surround the dramaturgical and musical concepts of these two Symbolist operas.

It integrates insights from psychoanalysis, feminist studies, and post-tonal theory to enrich our understanding of dramatic meaning suggested by the musical symbolism. The book is remarkable for its in-depth musical approach to a variety of psychological, social, and historical issues, which the author has drawn into the aesthetic orbit of these pioneering operas.

George Perle