Bartók and the Grotesque

Studies in Modernity, the Body and Contradiction in Music

Nonfiction, Entertainment, Music
Cover of the book Bartók and the Grotesque by Julie Brown, Taylor and Francis
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Julie Brown ISBN: 9781351574563
Publisher: Taylor and Francis Publication: July 5, 2017
Imprint: Routledge Language: English
Author: Julie Brown
ISBN: 9781351574563
Publisher: Taylor and Francis
Publication: July 5, 2017
Imprint: Routledge
Language: English

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), Bart�ngaged 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 Bart� concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bart�eveloped 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 Bart�as composing.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

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), Bart�ngaged 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 Bart� concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bart�eveloped 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 Bart�as composing.

More books from Taylor and Francis

Cover of the book The Icarus Syndrome by Julie Brown
Cover of the book Reading McDowell by Julie Brown
Cover of the book The Ashgate Research Companion to War by Julie Brown
Cover of the book Exploration of the South Seas in the Eighteenth Century: Rediscovered Accounts, Volume II by Julie Brown
Cover of the book Postcolonial Lesbian Identities in Singapore by Julie Brown
Cover of the book Cost-Benefit Analysis by Julie Brown
Cover of the book Global Perspectives on Death in Children's Literature by Julie Brown
Cover of the book The Problem with Boys' Education by Julie Brown
Cover of the book Vagueness by Julie Brown
Cover of the book Forests by Julie Brown
Cover of the book The Free Trade Area of the Common Market for Eastern and Southern Africa by Julie Brown
Cover of the book Environmental Design Research by Julie Brown
Cover of the book The Language of Politics by Julie Brown
Cover of the book Engineer of Revolutionary Russia by Julie Brown
Cover of the book Organizational Moral Learning by Julie Brown
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy