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005 20141212061241.0;

008 820916s1984 cauag b s001 0 eng ;

010 a| 82017352;

020 a| 0520046048;

035 a| (Sirsi) o08826649;

035 a| (OCoLC)8826649;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML410.B26b| A8 1984;

082 0 a| 780/.92/42| 19;

100 1 a| Antokoletz, Elliott.=| ^A175316;

245 14 a| The music of Béla Bartók :b| a study of tonality and progression in twentieth-century music /c| Elliott Antokoletz.;

300 a| xviii, 342 pages :b| illustrations, music ;c| 26 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 331-333) and indexes.;

505 00 t| The musical language of Bartok: historical backgrounds.t| Folk- and art-music sources ;t| Orientation toward French, Russian, and folk-music sources: nonfunctional bases in pentatonic, modal, and whole-tone constructions ;t| Use of symmetrical pitch collections by Russian, French, and Hungarian composers ;t| Russian nationalists: symmetrical properties of the dominant-ninth chord ;t| Russian nationalists, Debussy, and Stravinsky: symmetrical properties of nontraditional as well as traditional (pentatonic and modal) pitch constructions ;t| Russian nationalists, Scriabin, and Kodaly: symmetrical partitions of the octatonic scale ;t| Late nineteenth- and early twentieth-century Germanic influences: symmetrical organization of chromatically related keys ;t| The Schoenberg school: symmetrical formations as the basis of progression in free-atonal compositions ;t| Berg and Webern: total systematization of the concepts of the interval cycle and inversional symmetry in dodecaphonic serial compositions --t| Harmonization of authentic folk tunes --t| Symmetrical transformation of the folk modes --t| Basic principles of symmetrical pitch construction --t| Construction, development, and interaction of intervallic cells --t| Tonal centricity based on axes of symmetry.t| Including the concepts of: symmetircal organization around an axis ;t| Use of symmetrical cells in establishing axes ;t| Interaction of traditional tonal centers and axes --t| Interaction of diatonic, octatonic, and whole-tone formations --t| Generation of interval cycles.;

520 a| The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. The author 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.;

600 10 a| Bartók, Béla,d| 1881-1945x| Criticism and interpretation.=| ^A27166;

650 0 a| Tonality.=| ^A26035;

650 0 a| Musical intervals and scales.=| ^A32858;

919 a| BOOK;

596 a| 3;

998 a| 242488;

999 a| ML410.B26 A8 1984w| LCc| 1i| 30372003540330d| 5/2/2025e| 3/5/2025f| 2/25/2024g| 5l| MSTm| JMUSICn| 123q| 3r| Ys| Yt| MGESBKu| 8/3/1989x| BOOKz| MCIRCo| .STAFF. enhanced 5/13/21 -jmusictech;

The music of Béla Bartók : a study of tonality and progression in twentieth-century music / Elliott Antokoletz.

Author/creator	Antokoletz, Elliott
Format	Book
Publication Info	Berkeley : University of California Press, ©1984.
Description	xviii, 342 pages : illustrations, music ; 26 cm
Subjects	Bartók, Béla, 1881-1945--Criticism and interpretation. Tonality. Musical intervals and scales.

Contents	The musical language of Bartok: historical backgrounds. Folk- and art-music sources ; Orientation toward French, Russian, and folk-music sources: nonfunctional bases in pentatonic, modal, and whole-tone constructions ; Use of symmetrical pitch collections by Russian, French, and Hungarian composers ; Russian nationalists: symmetrical properties of the dominant-ninth chord ; Russian nationalists, Debussy, and Stravinsky: symmetrical properties of nontraditional as well as traditional (pentatonic and modal) pitch constructions ; Russian nationalists, Scriabin, and Kodaly: symmetrical partitions of the octatonic scale ; Late nineteenth- and early twentieth-century Germanic influences: symmetrical organization of chromatically related keys ; The Schoenberg school: symmetrical formations as the basis of progression in free-atonal compositions ; Berg and Webern: total systematization of the concepts of the interval cycle and inversional symmetry in dodecaphonic serial compositions -- Harmonization of authentic folk tunes -- Symmetrical transformation of the folk modes -- Basic principles of symmetrical pitch construction -- Construction, development, and interaction of intervallic cells -- Tonal centricity based on axes of symmetry. Including the concepts of: symmetircal organization around an axis ; Use of symmetrical cells in establishing axes ; Interaction of traditional tonal centers and axes -- Interaction of diatonic, octatonic, and whole-tone formations -- Generation of interval cycles.
Abstract	The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. The author 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.
Bibliography note	Includes bibliographical references (pages 331-333) and indexes.
LCCN	82017352
ISBN	0520046048

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Music	Music Stacks	ML410.B26 A8 1984	✔ Available	Place Hold

The music of Béla Bartók : a study of tonality and progression in twentieth-century music / Elliott Antokoletz.

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