The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century MusicThe basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartók'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. |
Contents
Use of Symmetrical Pitch Collections by Russian French | 4 |
Total Systematization of the Concepts of the Interval Cycle | 20 |
Symmetrical Transformations of the Folk Modes | 51 |
Basic Principles of Symmetrical Pitch Construction | 67 |
Interaction of Diatonic Octatonic and WholeTone Formations | 204 |
Generation of the Interval Cycles | 271 |
Conclusion | 312 |
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Common terms and phrases
appears axis of symmetry Bagatelle bass Bb-E Béla Bartók cadence cadential point Celesta chromatic coda Concerto for Orchestra cresc cycle of fifths cyclic diatonic collection dyads E-Aeolian E-Dorian E-pentatonic eighth-note enharmonic spelling established expanded four-note Fourth String Quartet fugue subject George Perle harmonic hexachord implies the presence Improvisation initial interval couples interval cycles interval-3 intervallic inversion inversionally latter linear statements linearly major thirds major-minor melodic ment minor modal mode molto motive Movement Music for Strings notes octatonic collection octatonic scale octatonic segment opening ostinato outline partitions passage pedal pentatonic perfect fourth perfect-fifth permutation piano pitch collection pitch content pitch-class pitch-content pizz poco primary priority progression prominent recapitulation semitones seven-note strain stretto sum 9 symmetrically related tetrachord thematic statement theme tion tonic transposed transposition triad trichord tritone tune unfolds vnl and vnII vnll whole tones whole-tone cycle whole-tone scale