Benjamin Suchoff is Adjunct Professor in the Department of Ethnomusicology at the University of California, Los Angeles and a member of the American Society of Composers, Authors and Publishers. He has been successor trustee of the estate of Béla Bartók, curator of its New York Bartók Archive, and editor of the fifteen-volume Bartók Archive Studies in Musicology Series and the two volumes of the Bartók Archive Edition series of piano works.

• Chapter 1 PrefaceChapter 2 AcknowledgmentsPart 3 Bartók's LifeChapter 4 Chapter 1. EARLY MUSICAL DEVELOPMENTS IN HUNGARYChapter 5 The Habsburg dynastyChapter 6 The Hungarian MinoritiesChapter 7 The Kossuth RebellionChapter 8 Chapter 2. CHILDHOOD AND YOUTH: 1881-1899Chapter 9 Valcer Opus 1Chapter 10 First Public AppearanceChapter 11 Rejection of TheismChapter 12 Chapter 3. SUMMARY OF HUNGARIAN MUSICAL DIALECT: 1889-1905Chapter 13 Academy ProfessorsChapter 14 Impact of Strauss and LisztChapter 15 Kossuth Symphonic PoemChapter 16 Discovery of Rural Folk SongChapter 17 Introduction to KodályChapter 18 Chapter 4. FUSION OF NATIONAL SYTLES: 1906-1925Chapter 19 Discovery of Old-Style Hungarian Folk SongChapter 20 Stefi Geyer EpisodeChapter 21 First Encounter with Romanian Folk SongChapter 22 Fieldwork in Romanian Villages of TransylvaniaChapter 23 Trailblazing a New Frontier in EthnomusicologyChapter 24 Transformation of Folk Music into Art MusicChapter 25 Duke Bluebeard's CastleChapter 26 New Hungarian Music SocietyChapter 27 Advent of the First World WarChapter 28 The Wooden PrinceChapter 29 The Miraculous MandarinChapter 30 Chapter 5. SYNTHESIS OF EAST AND WEST: 1926-1945Chapter 31 First American TourChapter 32 Cantata ProfanaChapter 33 Appointment to the Academy of SciencesChapter 34 Austrian AnschlussChapter 35 Exile in AmericaPart 36 Folk Music ResearchChapter 37 Chapter 6. HUNGARIAN FOLK MUSICChapter 38 A. The Old Style of Hungarian Peasant MusicChapter 39 B. The New Style of Hungarian Peasant MusicChapter 40 C. Other Tunes in Hungarian Peasant MusicChapter 41 Table 1: Strophic Structure in Class C MelodiesChapter 42 Chapter 7. SLOVAK FOLK MUSICChapter 43 Table 2: Classification of Slovak Folk MelodiesChapter 44 Old Style MelodiesChapter 45 Mixed Style MelodiesChapter 46 New Style MelodiesChapter 47 Chapter 8. ROMANIAN FOLK MUSICChapter 48 RFM.i: Instrumental MelodiesChapter 49 Table 3: Classification of Romanian Instrumental Folk MelodiesChapter 50 InstrumentsChapter 51 Dance Genres and Their ChoreographyChapter 52 Musical CharacteristicsChapter 53 RFM.ii: Vocal MelodiesChapter 54 Table 4: Classification of Romanian Vocal Folk MelodiesChapter 55 RFM.iii: TextsChapter 56 Table 5: Classification of Romanian Folk TextsChapter 57 RFM.iv: Carols and Christmas Songs (Colinde)Chapter 58 Part One—Table 6: Stanza Structure in the Colinda MelodiesChapter 59 Part Two—Table 7: Classification of the Colinda TextsChapter 60 RFM.v: Maramures CountyChapter 61 Table 8: Classification of Maramures County Folk MelodiesChapter 62 Chapter 9. ARAB FOLK MUSIC FROM THE BISKRA DISTRICTChapter 63 Wind InstrumentsChapter 64 Stringed InstrumentsChapter 65 Percussion InstrumentsChapter 66 Vocal MelodiesChapter 67 Scale and RangeChapter 68 Musical FormChapter 69 RhythmChapter 70 AccompanimentChapter 71 TempoChapter 72 Peculiarities of PerformanceChapter 73 Classification of the Instrumental Dance MelodiesChapter 74 Chapter 10. RUTHENIAN FOLK MELODYChapter 75 Chapter 11. YUGOSLAV FOLK MUSICChapter 76 YFM.i: Serbo-Croatian Folk SongsChapter 77 Table 9: Morphology of the Serbo-Croatian Vocal Folk MelodiesChapter 78 Table 10: Selected Data from Bartók's "Tabulation of Material"Chapter 79 Chapter 12. BULGARIAN FOLK MUSICChapter 80 Table 11: Bartók's Classified Bulgarian Folk Music CollectionChapter 81 Chapter 13. TURKISH FOLK MUSIC FROM ASIA MINORChapter 82 Table 12: Classification of Turkish Folk MelodiesChapter 83 EpilogueChapter 84 List of Compositions and EditionsChapter 85 PersonaliaChapter 86 AbbreviationsChapter 87 NotesChapter 88 Select BibliographyChapter 89 IndexChapter 90 About the Author

...Suchoff's survey is valuable precisely because it is so compact. Placing summaries of the various ethnic musics Bartók studied in one place allows the reader to see how much Bartók's criteria for organizing his collections varied.