Eroticism in the Music of Béla Bartók – Part 3 (The Modernist Jungle)

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)

adamscovellDecember 27, 2013March 24, 20144 Comments

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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).

adamscovellDecember 12, 2013March 24, 20145 Comments

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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).

adamscovellNovember 25, 2013March 24, 20145 Comments