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, the very basic groundwork for the piece was laid for … 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 that seem to roll over each other as they begin … Continue reading Eroticism in the Music of Béla Bartók – Part 5 (Post-Modern Pulp).
Part 1. Part 2. Part 3. Kierkegaard’s Erotic Immediacy and the Atonal Manifestation of Complex Erotic Identity in Music for Strings, Percussion and Celesta. “Sensuous immediacy has its absolute medium in music, and this also explains why music in the ancient world did not become properly developed but is linked to the Christian world.” – Kierkegaard (1843, p.71). Unlike the other pieces of music by … Continue reading Eroticism in the Music of Béla Bartók – Part 4 (Kierkegaard’s Immediacy)
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 aesthete lives for the pleasures of the moment, and tends … Continue reading Eroticism in the Music of Béla Bartók – Part 3 (The Modernist Jungle)
Part 1. Bartók as a Post-Wagnerian Composer and The Confronting of Eroticism in The Miraculous Mandarin. “Thus, at first, there came a weariness of the productions of the Romantic Period, and then, as a consequence of this weariness, a search for points of departure which represented the greatest possible contrast to those of the Romantic mode of expression.” – Bartók (1976, p.331) In the context … Continue reading Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).
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 have no choice but to address another line of interest … Continue reading Eroticism In The Music Of Béla Bartók – Part 1 (Introduction).