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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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Symbolism and Expressionism in Other Early Twentieth‐Century Operas

Symbolism and Expressionism in Other Early Twentieth‐Century Operas

Chapter:
(p.262) 13 Symbolism and Expressionism in Other Early Twentieth‐Century Operas
Source:
Musical Symbolism in the Operas of Debussy and Bartok
Author(s):

Elliott Antokoletz (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195365825.003.0013

In the Vienna of Sigmund Freud, Strauss's Elektra represented a move toward expressionism and the transformation of late 19th-century chromatic tonality. This trend was continued in Schoenberg's Erwartung, based on free-atonality, expressionism, and symbolic meaning. Berg's Wozzeck is then discussed as a symbol of the oppressed and the peak of expressionism.

Keywords:   Vienna, Freud, Strauss, Elektra, Schoenberg, Erwartung, free-atonality, Berg, Wozzeck

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