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A detailed analysis of the relationships between the music and movement in Pina Bausch’s 1977 work Bluebeard: on listening to a tape recording of Béla Bartók’s opera “Duke Bluebeard’s Castle” reveals many layers of both structure and meaning to the work.
BartoÂk's only opera, Duke Bluebeard's Castle (A KeÂkszakaÂllu herceg vaÂra), has cast its spell on audiences for more than eighty years since its premiere.
4 lis 1999 · Inside Bluebeard’s Castle is an ideal starting point for research in twentieth-century music, Hungarian cultural history, and opera studies, as well as an invaluable guide for anyone interested in Bartók’s only opera.
and modal elements into a pitch-web square analysis of Béla Bartók’s (1881–1945) opera, A kékszakállú herceg vára (Duke Bluebeard’s Castle). My specific goal is to demonstrate that different musical materials, which exist as foreground melodies or long-term key progressions, are unified by the unordered pitch set {0,1,4}, which be-
4 lis 1999 · The first full-length study of Bartok's 1911 opera Duke Bluebeard's Castle, this book is an authoritative study of one of the twentieth century's enduring operatic works.
beard and Judith is comprised of four-line stanzas: Bluebeard describes the vast splendor of his domains for three lines, and Judith responds with one. This pattern repeats. In the next four lines, Bluebeard offers his magnificent domains to Judith, assuring her of a bright future therein. When, in response, Judith perceives blood-
Abstract: The intention in this lecture is to explore the means by which Bartok's Duke Bluebeard's Castle (1911) transforms the harmonic structures of the traditional major/minor scale system into a new musical language, and how this language reflects the psycho-dramatic symbolism of Bela Balazs, Hungarian disciple of the Belgian
