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Musical Symbolism in the Operas of Debussy and Bartok$
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Elliot Antokoletz

Print publication date: 2008

Print ISBN-13: 9780195365825

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780195365825.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 23 October 2021

Duke Bluebeard's Castle

Duke Bluebeard's Castle

The Nietzschean Condition and Polarity of Characterizations: Diatonic‐Chromatic Extremes

(p.234) 11 Duke Bluebeard's Castle
Musical Symbolism in the Operas of Debussy and Bartok

Elliott Antokoletz (Contributor Webpage)

Oxford University Press

This chapter looks at Door V, Bluebeard's Domain, which represents the culminating point for the polarity of darkness and light, based on large-scale and local use of geometrically expanding proportional structure. An aphorism of Nietzsche on independence is also presented, which pertains to Bluebeard's strength and loneliness. The chapter discusses isometric text-verse of ancient Hungarian folk music as structural framework for the final phase of character development and transformation. It also includes an aphorism of Nietzsche on women and its reflection in the dual illusion of Balázs's Judith.

Keywords:   Nietzschean condition, Bluebeard's Domain, geometrically expanding proportions, loneliness, isometric text-verse, ancient Hungarian folk music, dual illusion

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