Quick note:The whole exoticism in opera thing works for works which have a dialogue between two contrasting elements. This reeks (well, not reeks but smells of, shall we say) dialectical imitation which Hyde talks about in relation to Stravinsky and Neo-Classicism. Interestingly enough, there's an example to be found in John Adams's music. Short Ride in a Fast Machine is not neo-classical but it does carry on a dialog of sorts with the past. And there is a trascendance section that mixes both elements. This is different than going completely outside the music, but it is going outside either styles. There's an idea of removal/synthesis that can be exploited, it seems, for multiple contexts...another paper?
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