By Ernő Lendvai
This is the main concise musical research i've got ever learn. The examples are transparent and with no ambiguity. The logical development of discussing the easy development blocks of Bartok's sort prime directly to the advanced features of his writing is ideal. although, the top fulfillment of this publication is the part that explains the average development of harmonic buildings from Bach via Bartok that dispells any rumors or theories that twentieth century track is simply a mathematical aberration or a gratuitous build. so one can realize why glossy Jazz owes a lot of it's thought to Bartok, learn this e-book.
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Extra info for Bela Bartok: An Analysis of His Music
This sense of the past as a temporal double—a past that operates in counterpoint with the present, like the two images of a stereoscope—plays out frequently throughout the novel, as when Marcel encounters a hedge of hawthorns later in life, at Balbec, that remind him of the flowers of his childhood. Here is a depth of vision and intensification that springs not from two views of what is immediately present, like binocular vision, but from two views that are temporally dislocated. ”12 In the Recherche it is undeniably memory—as disclosure of this realm of depth—that holds the greatest power of fascination for Marcel.
It is thanks to these accounts of binocular vision that we may catch an analogue to the more ontological principle of depth for which Merleau-Ponty searches. Thus I look out upon an object before me, perhaps an olive tree, and my body is immediately implicated in the look. For what I notice is that my vision does not give me one, single version of the tree revealed in its positivity. 24 Moreover, like the two-dimensional pictures used in the stereoscope, what I see with each eye individually appears flat, lifeless.
Through Mlle de Saint-Loup, Swann, Odette, Gilberte, and Albertine cohere, as well as the music of Vinteuil and the paintings of Elstir at Balbec. These cohesions make of his flesh not an object, but a lived, vital history. Mlle de Saint-Loup serves not only as the two ways incarnate; she is the flesh as dimension (space and time)—as the opening up of the double structure, through which life gains its intensity. Is Mlle de Saint-Loup not the inspiration that prompts Marcel, finally, to begin to write—to become the narrator?
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