On Adorno (67-8): expressive communication supressed in late capitalist society. Stravinsky, Debussy antisymphonic technique stops or spatializes time through stasis/repetition, fragmented forms of motivic development. visualization encourages externalization, listening encourages internalization. "Voided of interiority and exhausted by exterior style, the work lost its potential for transcendence, the potential that would preserve a gap for listeners to listen beyond the surface." Work recapitulates culture in which produced and shapes listeners accordingly as catatonic, infantile, frigid, unfree subject w/o will. Adorno thinks Melisande is such a subject.

"'Symphonism' had come to connote operatic excess and imbalance between the work's interior and exterior." (69) Pelleas sound as "presymphonic, declamatory and prosaic expression" (70).

Debussy wanted to leave music to work alongside words as commentary and extension (69), discrete element in opera (70).

Voice brings out interior, heard through flatness of picture, note, word. For symbolists to be musical implies move toward abstraction
(71).

Critic of Materlink's play likens it to magic lantern show "The beings that we see onstage look like shadows. They live, speak, and move in the atmosphere of artifice; they are the creatures of a dream." Description similar to Wagner's own of Bayreuth: "In the perfect drama - the full shapes of a dream-vision, or the other world, are projected before us in a life-like way as if by the magic lantern. It is a ghostly seeing in which all the figures of all times and places become distinct before our eyes. Music is the lamp of this lantern....music should be able to inspire the sight so that we see the music in shapes." (72) Hid orchestra, mechanical means by which images and sounds produced, but never singer-actors.

Symphonic (Wagner) vs. dramatic (Debussy) voice as true musicality of modern music-drama.

"A modernist masterpiece shows the fracture for what it is by exposing the illusion of a false synthesis." (78) Goehr says Pelleas first masterpiece of this kind.