PREFACE;ACKNOWLEDGMENTS
Elliott Antokoletz is Professor of Musicology at the University of Texas at Austin. He received the Bela Bartok Memorial Plaque and Diploma from the Hungarian Government in 1981. He is author of several books and co-editor of the International Journal of Musicology.
"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
"This book provides new and essential technical methodology for
approaching the compositional language of these operatic
masterpieces. Of equal significance is the author's presentation of
profound insights into their psychological issues rarely
encountered in musicological literature. Not only will scholars and
students acquire a deeper understanding of the radical changes in
the traditional tonal language that occurred in the early twentieth
century, but also
the whole notion of symbolism and its reflection in both drama and
its characterizations."--Benjamin Suchoff, University of
California, Los Angeles
"In Musical Symbolism in the Operas of Debussy and Bartok, Elliott
Antokoletz pushes our understanding of music drama to new depths as
he, in collaboration with his wife, a psychologist, uses the
insights of psychoanalysis to explore a close reading of character,
gender relationships, and dramatic motion in music setting
Maeterlinck's plays. Exploring the works as symbolic
representations of trauma and related emotions, he shows how
musical
correspondences distinguish between the agency of humans and fate,
the unfolding of internal and external processes. This unveils the
modernism of these operas in original and provocative ways."--Jann
Pasler, University
of California, San Diego
"In Musical Symbolism in the Operas of Debussy and Bartok, Elliott
Antokoletz pushes our understanding of music drama to new depths as
he, in collaboration with his wife, a psychologist, uses the
insights of psychoanalysis to explore a close reading of character,
gender relationships, and dramatic motion in music setting
Maeterlinck's plays. Exploring the works as symbolic
representations of trauma and related emotions, he shows how
musical
correspondences distinguish between the agency of humans and fate,
the unfolding of internal and external processes. This unveils the
modernism of these operas in original and provocative ways."--Jann
Pasler, University
of California, San Diego
"This book provides new and essential technical methodology for
approaching the compositional language of these operatic
masterpieces. Of equal significance is the author's presentation of
profound insights into their psychological issues rarely
encountered in musicological literature. Not only will scholars and
students acquire a deeper understanding of the radical changes in
the traditional tonal language that occurred in the early twentieth
century, but also
the whole notion of symbolism and its reflection in both drama and
its characterizations."--Benjamin Suchoff, University of
California, Los Angeles
"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
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