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001 ocm24544088;

005 20141212091603.0;

008 910916s1992 ctug b 001 0 eng ;

010 a| 91036107;

020 a| 0300051115;

035 a| (Sirsi) o24544088;

035 a| (OCoLC)24544088;

049 a| EREM;

050 00 a| ML410.B26b| W5 1992;

082 00 a| 780/.922| 20;

100 1 a| Wilson, Paul,d| 1947-=| ^A292951;

245 14 a| The music of Béla Bartók /c| Paul Wilson.;

260 a| New Haven :b| Yale University Press,c| 1992.;

300 a| ix, 222 pages :b| music ;c| 25 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Composers of the twentieth century;

504 a| Includes bibliographical references (pages 215-217) and index.;

520 a| In this book, the author presents a new theoretical and analytical approach to the music of Bela Bartok, Hungary's most famous composer and a key figure in twentieth-century music. The author explains his theory and then applies it to five important pieces: the Sonata for Piano, the Third Quartet, and movements from the Fifth Quartet, the Sonata for Two Pianos and Percussion, and the Concerto for Orchestra. According to the author, earlier critics of Bartok's music have often sought to discover an unvarying precompositional system that accounted for individual musical events. The author's approach is different in that he develops a way to explore each work within the musical contexts that the work itself creates and sustains. The author begins by discussing a number of fundamental musical materials that Bartok employed throughout his oeuvre. Using these materials as foundations, he then describes a series of flexible, behaviorally defined harmonic functions and a model of pitch hierarchy based on the functions and on several connective designs. The author shows how these hierarchical structures provide meaningful forces for coherence and for dynamism and progressional drive in the music. After analyzing the five works from Bartok's oeuvre, he concludes by explaining the philosophical similarities between his theory and the work of David Lewin and Charles Taylor in the related fields of perception and hermeneutics.;

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

830 0 a| Composers of the twentieth century.=| ^A258186;

919 a| BOOK;

596 a| 3;

998 a| 429702;

999 a| ML410.B26 W5 1992w| LCc| 1i| 30372006488990d| 12/10/2018e| 8/31/2018f| 2/28/2024g| 5l| MSTm| JMUSICn| 54q| 5r| Ys| Yt| MGESBKu| 9/22/1992x| BOOKz| MCIRCo| .STAFF. enhanced 5/14/21 -jmusictech;

The music of Béla Bartók / Paul Wilson.

Author/creator	Wilson, Paul, 1947-
Format	Book
Publication Info	New Haven : Yale University Press, 1992.
Description	ix, 222 pages : music ; 25 cm.
Subjects	Bartók, Béla, 1881-1945--Criticism and interpretation.

Series	Composers of the twentieth century Composers of the twentieth century. ^A258186
Contents	Introduction. First steps toward a theory -- Theory. Fundamentals: source sets, harmonic function, privileged pattern, and context -- A model of hierarchical structure -- Analyses. The sonata for piano -- The third string quartet -- The fifth string 1uartet, II and IV -- The sonata for two pianos and percussion, I and II -- The concerto for orchestra, I -- Appendix. Erno Lendvai and the axis system.
Abstract	In this book, the author presents a new theoretical and analytical approach to the music of Bela Bartok, Hungary's most famous composer and a key figure in twentieth-century music. The author explains his theory and then applies it to five important pieces: the Sonata for Piano, the Third Quartet, and movements from the Fifth Quartet, the Sonata for Two Pianos and Percussion, and the Concerto for Orchestra. According to the author, earlier critics of Bartok's music have often sought to discover an unvarying precompositional system that accounted for individual musical events. The author's approach is different in that he develops a way to explore each work within the musical contexts that the work itself creates and sustains. The author begins by discussing a number of fundamental musical materials that Bartok employed throughout his oeuvre. Using these materials as foundations, he then describes a series of flexible, behaviorally defined harmonic functions and a model of pitch hierarchy based on the functions and on several connective designs. The author shows how these hierarchical structures provide meaningful forces for coherence and for dynamism and progressional drive in the music. After analyzing the five works from Bartok's oeuvre, he concludes by explaining the philosophical similarities between his theory and the work of David Lewin and Charles Taylor in the related fields of perception and hermeneutics.
Bibliography note	Includes bibliographical references (pages 215-217) and index.
LCCN	91036107
ISBN	0300051115

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML410.B26 W5 1992	✔ Available	Place Hold

The music of Béla Bartók / Paul Wilson.

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