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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 Research Part I. Career and Work as Folklorist 2: Benjamin Suchoff: Bartók's Odyssey in Slovak Folk Music 3: Stephen Erdely: Bartók on Southslavic Epic Songs Part II. Analytical and Theoretical Studies 4: Malcolm Gillies: Analyzing Bartók's Works of 1918-1922: Motives, Tone Patches, and Tonal Mosaics 5: Elliott Antokoletz: Modal Transformation and Musical Symbolism in Bartók's Cantata Profana 6: Elliott Antokoletz: Organic Expression and Classical Structure in Bartók's Sonata for Two Pianos and Percussion 7: John K. Novak: The Benefits of "Relaxation": The Role of the "Pihenö" Movement in Béla Bartók's Contrasts Part III. Sytle and Aesthetics 8: Benjamin Suchoff: The Genesis of Bartók's Musical Language 9: Dorothy Lamb Crawford: Love and Anguish: Bartók's Expressionism 10: Judit Frigyesi: The Verbunkos and Bartók's Modern Style: The Case of Duke Bluebeard's Castle 11: James Porter: Bartók's Concerto for Orchestra (1943) and Janácek's Sinfonietta (1926): Conceptual and Motivic Parallels Part IV. Folk Music Influences 12: János Kárpáti: Bartók in North Africa: A Unique Fieldwork and Its Impact on His Music 13: David Yeomans: Background and Analysis of Bartók's Romanian Christmas Carols for Piano (1915) 14: Timothy Rice: Béla Bartók and Bulgarian Rhythm Part V. Compositional Process 15: László Somfai: Bartók's Notations in Composition and Transcription 16: Carl S. Leafstedt: Pelléas Revealed: The Original Ending of Bartók's Opera, Duke Bluebeard's Castle 17: Peter Bartók: Correcting Printed Editions of Béla Bartók's Viola Concerto and Other Compositions 18: Nelson Dellamaggiore: Deciphering Béla Bartók's Viola Concerto Sketch Part VI. Orientation Toward Pedagogy 19: Victoria Fischer: Bartók's Fourteen Bagatelles op. 6, for Piano: Toward Performance Authenticity Part VII. Reception History 20: Malcolm Gillies: The Canonization of Béla Bartók Chronological List of Cited Bartók Compositions
Given the highly technical nature of many chapters, it is difficult to imagine writing of greater clarity