Music of Bela Bartok

A Study of Tonality and Progression in Twentieth-Century Music

Häftad, Engelska, 1990

379 kr

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The basic principles of progression and the means by which tonality is established in Bartok's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartok's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.

Produktinformation

Utgivningsdatum1990-01-11
Mått155 x 230 x 25 mm
Vikt510 g
FormatHäftad
SpråkEngelska
Antal sidor472
FörlagUniversity of California Press
ISBN9780520067479

Tillhör följande kategorier

Musiker, sångare och grupper inom Kultur
Musikvetenskap inom Kultur
Tonsättare och låtskrivare inom Kultur

List of IllustrationsPrefaceAcknowledgmentsI The Musical Language of Bartok: Historical BackgroundsFolk- and Art-Music SourcesOrientation toward French, Russian, and Folk-Music Sources:Nonfunctional Bases in Pentatonic, Modal, and Whole-ToneConstructionsUse of Symmetrical Pitch Collections by Russian, French,and Hungarian ComposersRussian Nationalists:Symmetrical Properties of the Dominant-Ninth ChordRussian Nationalists, Debussy, and Stravinsky:Symmetrical Properties of Nontraditional as Well as Traditional(Pentatonic and Modal) Pitch ConstructionsRussian Nationalists, Scriabin, and Kodaly:Symmetrical Partitions of the Octatonic ScaleLate Nineteenth- and Early Twentieth-Century Germanic Influences:Symmetrical Organization of Chromatically Related KeysThe Schoenberg School:Symmetrical Formations as the Basis of Progressionin Free-Atonal CompositionsBerg and Webern:Total Systematization of the Concepts of the Interval Cycle andInversional Symmetry in Dodecaphonic Serial CompositionsII Harmonization of Authentic Folk TunesIII Symmetrical Transformations of the Folk ModesIV Basic Principles of Symmetrical Pitch ConstructionV Construction, Development, and Interaction of lntervallic CellsVI Tonal Centricity Based on Axes of SymmetryIncluding the Concepts of:Symmetrical Organization around an Axis; Use of SymmetricalCells in Establishing Axes; Interaction of Traditional Tonal Centersand AxesVII Interaction of Diatonic, Octatonic, and Whole-Tone FormationsVIII Generation of the Interval CyclesIX ConclusionChronological List of Cited Bartok CompositionsWorks CitedIndex to Basic Terms, Definitions, and ConceptsIndex to CompositionsGeneral Index

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