Inhoud
- Preface;Acknowledgments
- 1:Backgrounds and Development: The New Musical Language and its Correspondence with Psycho-Dramatic Principles of Symbolist Opera
- 2:The New Musical Language
- 3:Trauma, Gender and the Unfolding of the Unconscious in the Debussy and Bartok Operas
- 4: Pelleas et Melisande: Polarity of Characterisations: Human Beings as Real Life Individuals and Instruments of Fate
- 5: Pelleas et Melisande:Fate and the Unconscious: Transformational Function of the Dominant-ninth Chord
- 6: Pelleas et Melisande: Musico-Dramatic Turning Point: Intervallic Expansion as Symbol of Dramatic Tension and Change of Mood
- 7: Pelleas et Melisande: Melisande as Christ Symbol - Life, Death and Resurrection- and Motivic Representations of the Whole-Tone Dyad
- 8: Pelleas et Melisande: Circuity of Fate and Resolution of Melisande's Dissonant Pentatonic Whole-tone Conflict
- 9: Duke Bluebeard's Castle:Psychological Motivation; Symbolic Interaction of Diatonic, Whole-tone and Chromatic Extremes
- 10: Duke Bluebeard's Castle: Toward Character Reversal; Reassignment of Pentatonic and Whole-tone Spheres
- 11: Duke Bluebeard's Castle: The Nietzschean Condition and Polarity of Characterisations; Diatonic-chromatic Extremes
- 12: Duke Bluebeard's Castle: Final Transformation, Ambiguous Tonal Cycle, Retreat into Eternal Darkness; Synthesis of Pentatonic/Diatonic and Whole-tone Spheres
- 13:Symbolism and Expression in Other Early Twentieth-century Operas
- 14:Epilogue