Part 1. Part 2. Part 3. Part 4. Part 5. Music for Strings, Percussion and Celesta in Stanley Kubrick's The Shining (1980). Though not as fuelled by repression and eroticism as The Miraculous Mandarin, Music for Strings, Percussion and Celesta also made the slight transition from eroticism to horror. With its use on Doctor Who, … Continue reading Eroticism in the Music of Béla Bartók – Part 6 (Kubrick and Conclusions).
Part 1. Part 2. Part 3. Part 4. Though of course subjective, the natural Kierkegaardian immediacy of the music is instantly on show. Several sections of brooding along these themes can be read almost as seductions, with the build-ups working easily as well as the seduction segments from The Miraculous Mandarin. The pairs of strings … Continue reading Eroticism in the Music of Béla Bartók – Part 5 (Post-Modern Pulp).
Part 1. Part 2. On the other hand, The Miraculous Mandarin presents a set of characters who are, by contrast, in the aesthetic stage; satisfied with the quick, disposable type of pleasures and unconcerned with future development. Carlisle states that " The aesthetic mode of existence is characterized by the pursuit of personal satisfaction. The … Continue reading Eroticism in the Music of Béla Bartók – Part 3 (The Modernist Jungle)
The Insertion and Removal Through Post-Wagnerian Ideals and New Media of Eroticism in the Music of Béla Bartók. Introduction. The music of Béla Bartók sits with some uncertainty between the last dying cries of Romanticism and the encroaching presence of Modernism. With this clash of ideals producing the composer's early work, Bartók's music appears to … Continue reading Eroticism In The Music Of Béla Bartók – Part 1 (Introduction).