A Musicological Study of Ken Russell’s Composer Films – Part 2 (Monitor and Bartok).

Part 1. BBC Monitor and the Use of Audio-Visual Form as Musicological Comment. The medium that Russell first gained traction in was not in fact film but in television documentaries.  The flop of his first feature film, French Dressing (1964), marks the advent of his daring creativity entering into his work as television director; a role he had begun at the BBC for their documentary … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 2 (Monitor and Bartok).

Eroticism in the Music of Béla Bartók – Part 6 (Kubrick and Conclusions).

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).

Eroticism in the Music of Béla Bartók – Part 4 (Kierkegaard’s Immediacy)

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)

Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).

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).

Eroticism In The Music Of Béla Bartók – Part 1 (Introduction).

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).