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This compilation of essays spans a wide range of individual perspectives within the varied disciplines related to Bartók's life and work. The nineteen chapters together constitute a broad yet integrated picture of the Hungarian composer's contributions to twentieth-century music and scholarship. While self-contained, each chapter contributes to a larger scheme of interrelated subjects that provide a coherent view of the Bartók field. The book also contains integrative theoretic-analytical approaches to Bartók's musical language that demonstrate relations between the modalities and rhythms of folk music and his more abstract musical principles. Some chapters examine Bartók's folk-music materials in connection with his fieldwork, transcription techniques, classification methodology, and compositional influences. Other chapters explore Bartók's system of composition from its early stages to maturity by way of his abstract works and his folk-music transcriptions. The book also addresses the relevance of Bartók's work to broader historical, philosophical, and folkloristic, compositional, performance, and reception issues.
1: Elliott Antokoletz: Perspectives in Bartók ResearchPart I. Career and Work as Folklorist2: Benjamin Suchoff: Bartók's Odyssey in Slovak Folk Music3: Stephen Erdely: Bartók on Southslavic Epic SongsPart II. Analytical and Theoretical Studies4: Malcolm Gillies: Analyzing Bartók's Works of 1918-1922: Motives, Tone Patches, and Tonal Mosaics5: Elliott Antokoletz: Modal Transformation and Musical Symbolism in Bartók's Cantata Profana6: Elliott Antokoletz: Organic Expression and Classical Structure in Bartók's Sonata for Two Pianos and Percussion7: John K. Novak: The Benefits of "Relaxation": The Role of the "Pihenö" Movement in Béla Bartók's ContrastsPart III. Sytle and Aesthetics8: Benjamin Suchoff: The Genesis of Bartók's Musical Language9: Dorothy Lamb Crawford: Love and Anguish: Bartók's Expressionism10: Judit Frigyesi: The Verbunkos and Bartók's Modern Style: The Case of Duke Bluebeard's Castle11: James Porter: Bartók's Concerto for Orchestra (1943) and Janácek's Sinfonietta (1926): Conceptual and Motivic ParallelsPart IV. Folk Music Influences12: János Kárpáti: Bartók in North Africa: A Unique Fieldwork and Its Impact on His Music13: David Yeomans: Background and Analysis of Bartók's Romanian Christmas Carols for Piano (1915)14: Timothy Rice: Béla Bartók and Bulgarian RhythmPart V. Compositional Process15: László Somfai: Bartók's Notations in Composition and Transcription16: Carl S. Leafstedt: Pelléas Revealed: The Original Ending of Bartók's Opera, Duke Bluebeard's Castle17: Peter Bartók: Correcting Printed Editions of Béla Bartók's Viola Concerto and Other Compositions18: Nelson Dellamaggiore: Deciphering Béla Bartók's Viola Concerto SketchPart VI. Orientation Toward Pedagogy19: Victoria Fischer: Bartók's Fourteen Bagatelles op. 6, for Piano: Toward Performance AuthenticityPart VII. Reception History20: Malcolm Gillies: The Canonization of Béla BartókChronological List of Cited Bartók Compositions
Given the highly technical nature of many chapters, it is difficult to imagine writing of greater clarity