Bartók and the Grotesque: Studies in Modernity, the Body and Contradiction in Music
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), Bartók 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 Bartók's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bartók 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 Bartók was composing.
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Bartók and the Grotesque: Studies in Modernity, the Body and Contradiction in Music
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), Bartók 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 Bartók's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bartók 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 Bartók was composing.
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Bartók and the Grotesque: Studies in Modernity, the Body and Contradiction in Music
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Bartók and the Grotesque: Studies in Modernity, the Body and Contradiction in Music
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Product Details
| ISBN-13: | 9780754657774 |
|---|---|
| Publisher: | Taylor & Francis |
| Publication date: | 10/28/2007 |
| Series: | Royal Musical Association Monographs , #16 |
| Pages: | 192 |
| Product dimensions: | 5.88(w) x 9.62(h) x (d) |
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