Bartók and the grotesque : studies in modernity, the body and contradiction in music
著者
書誌事項
Bartók and the grotesque : studies in modernity, the body and contradiction in music
（Royal Musical Association monographs, 16）
Ashgate, c2007
- : hbk
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注記
Includes bibliographical references (p. [172]-177) and index
内容説明・目次
内容説明
The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling. In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), BartA(3)k engaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In a number of instrumental works he also overtly engaged grotesque satirical strategies, sometimes - as in Two Portraits: 'Ideal' and 'Grotesque' - indicating this in the title. In this book, Julie Brown argues that BartA(3)k's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While BartA(3)k developed each interest in highly individual ways, and did so separately to a considerable extent, the three concerns remained conceptually interlinked. All three were thoroughly implicated in cultural constructions of the Modern during the period in which BartA(3)k was composing.
目次
- Contents: Introduction
- BartA(3)k and the19th century grotesque
- BartA(3)k and the body
- The Mandarin's miraculous body: 'expressly for our vexation'?
- The 3rd String Quartet as grotesque
- Conclusion and coda: on Adorno and the grotesque
- Select bibliography
- Index.
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