Background
Antokoletz, Elliott Maxim was born on August 3, 1942 in Jersey City. Son of Jack and Esther (Leiter) Antokoletz.
(Musical Symbolism in the Operas of Debussy and Bartók exp...)
Musical Symbolism in the Operas of Debussy and Bartók explores the means by which two early 20th century operas - Debussy's Pelléas et Mélisande (1902) and Bartók's Duke Bluebeard's Castle (1911) - transformed the harmonic structures of the traditional major/minor scale system into a new musical language. It also looks at how this language reflects the psychodramatic symbolism of the Franco-Belgian poet, Maurice Maeterlinck, and his Hungarian disciple, Béla Balázs. These two operas represent the first significant attempts to establish more profound correspondences between the symbolist dramatic conception and the new musical language. Duke Bluebeard's Castle is based almost exclusively on interactions between pentatonic/diatonic folk modalities and their more abstract symmetrical transformations (including whole-tone, octatonic, and other pitch constructions derived from the system of the interval cycles). The opposition of these two harmonic extremes serve as the basis for dramatic polarity between the characters as real-life beings and as instruments of fate. The book also explores the new musico-dramatic relations within their larger historical, social psychological, philosophical, and aesthetic contexts.
http://www.amazon.com/gp/product/0195365828/?tag=2022091-20
(Two early twentieth-century operas -- Debussy's Pelleas e...)
Two early twentieth-century operas -- Debussy's Pelleas et Melisande (1902) and Bartok's Duke Bluebeard's Castle (1911) -- transformed the traditional major/minor scale system into a new musical language. This new language was based almost exclusively on interactions between folk modalities and their more abstract symmetrical transformations. Elliott Antokoletz reveals not only the new musical language of these operas, but also the way in which they share a profound correspondence with the growing symbolist literary movement as reflected in their libretti. In the symbolist literary movement, authors reacted to the realism of nineteenth-century theatre by conveying meaning by suggestion, rather than direct statement. The symbolist conception included a new interest in psychological motivation and consciousness manifested itself in metaphor, ambiguity, and symbol. In this groundbreaking study, Antokoletz links the new musical language of these two operas with this symbolist conception and reveals a direct connection between the Debussy and Bartok operas. He shows how the opposing harmonic extremes serve as a basis for the dramatic polarity between real-life beings and symbols of fate. He also explores how the libretti by Franco-Belgian poet Maurice Maeterlinck (Pelleas et Melisande) and his Hungarian disciple Bela Balazs (Duke Bluebeard's Castle) transform the internal concept of subconscious motivation into an external one, one in which fate controls human emotions and actions. Using a pioneering approach to theoretical analysis, Antokoletz, explores the new musico-dramatic relations within their larger historical, social psychological, philosophical, and aesthetic contexts.
http://www.amazon.com/gp/product/0195103831/?tag=2022091-20
Antokoletz, Elliott Maxim was born on August 3, 1942 in Jersey City. Son of Jack and Esther (Leiter) Antokoletz.
Student, Juilliard School Music. Bachelor of Science in Violin, Juilliard School Music, 1964. Bachelor in Musicology, Hunter College, 1968.
Master of Arts in Musicology, Hunter College, 1970. Doctor of Philosophy in Musicology, City University of New York, 1975.
Instructor violin, Brearley School, New York City, 1970-1976; theory lecturer, instructor chamber music, Queens College, New York City, 1973-1976; professor musicology, University Texas, Austin, since 1976.
(Musical Symbolism in the Operas of Debussy and Bartók exp...)
(Two early twentieth-century operas -- Debussy's Pelleas e...)
( The basic principles of progression and the means by wh...)
Member American Musicol. Society (Subvention award 1982), College Music Society, International Alban Berg Society, Sonneck Society, International Musicol.
Married Juana Canabal, May 28, 1972. 1 child, Eric.