Academic literature on the topic 'Bartók, Béla, 1881-1945'
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Journal articles on the topic "Bartók, Béla, 1881-1945"
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Szesztay, Zsuzsa. "A magyar gyermek- és népdalfeldolgozások Bartók Béla: Gyermekeknek sorozatában." Gyermeknevelés 9, no. 3 (December 22, 2021): 158–67. http://dx.doi.org/10.31074/gyntf.2021.3.158.167.
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A tanulmány a 20. század egyik legjelentősebb magyar zeneszerzője, népzenetudósa és zongoraművésze, Bartók Béla (1881–1945) születésének 140. évfordulója előtt tiszteleg. A magyar gyermek- és népdalfeldolgozások különleges inspirációs forrást jelentettek Bartók 1908 és 1911 között keletkezett korai zongoraműveiben. Egyik legjelentősebb műve az 1908–1909-ben készült négy füzetből álló Gyermekeknek című sorozat. A zongoraciklus, melyet a zongorista- és zenepedagógusi tevékenységet is folytató Bartók kifejezetten a zongoratanulás kezdeti éveire szánt, máig a zongoraoktatás egyik legértékesebb alapműve. A Gyermekeknek első és második kötetének öt gyermekdal feldolgozása Forrai Katalin Ének az óvodában című könyvében is fellelhető. Ezek a könnyen énekelhető, játékkal összekapcsolható énekek az óvodai énekes repertoár fontos részét képezik. Bartók a népzenét természeti jelenségnek tekintette és a nagy művészetek alkotásaival egyenrangú, tökéletes művészetként értékelte. A kisgyermekkori zenei nevelésben ezek az eszmék a magyar zenei nyelv elsajátításán és élményszerű befogadásán keresztül valósulhatnak meg.
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Gazizullina, Arina Rustamovna, and Iuliia Vladimirovna Shatskikh. "Features of fauvism in Béla Bartók’s piano music on the example of the cycle "Six Romanian folk dances"." Manuscript 17, no. 1 (February 27, 2024): 45–48. http://dx.doi.org/10.30853/mns20240007.
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The research objective is to characterize piano music of Béla Bartók (1881-1945), an outstanding Hungarian composer, pianist, teacher, ethnographer and musicologist. The paper describes the prerequisites for the emergence of the musical style "Fauvism" in the late 19th and early 20th centuries and Fauvism in piano music, identifying the Béla Bartók’s role in the development of musical Fauvism style; defines the specifics of the composer’s piano style on the basis of the analysis of his works. The research novelty lies in substantiating the uniqueness of Bela Bartok's piano handwriting defined by the focus of his composer’s language on the authentic Hungarian folklore. As a result, the main features of Bela Bartok's piano style are revealed: minimization of textured layers and the use of a limited number of structural elements; rejection of sound sensuality; the special role of accentuation; contrasting use of extreme registers of an instrument; grotesque scherzo motility.
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Sabo, Atila. "Harmonic language as a generator of mediation between contrasting meanings in the post-tonal context." New Sound, no. 52-2 (2018): 111–30. http://dx.doi.org/10.5937/newso1852111s.
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This paper examines the influence of harmonic language on the narrative processes in post-tonal music. The main assumption is that the phenomenon of mediation, expounded on by David Lidov on the examples of music of Classicism and Romanticism, is quite similarly manifested when the major-minor system is suspended. Mediation, according to Lidov, implies cancelling opposition or blurring opposed semantic categories, which can be achieved by various music means. In music that emerged after the suspension of tonality, especially in authors who have not opted exclusively for either of the two opposed ways of harmonic thinking, the tonal or the atonal, harmonic language remains a significant factor in generating narratives. They play a key role in forming transitional categories between contrasting meanings within a binary opposition, that is to say, in emphasising the process of mediation. Departing from these views, the paper analyses the role of specific manifestations of the tonal vertical in forming meaning in the second movement of Music for String Instruments, Percussion and Celesta by Béla Bartók (1881-1945).
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Navetnaya, Anna P. "The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets." Observatory of Culture 17, no. 6 (February 10, 2021): 626–37. http://dx.doi.org/10.25281/2072-3156-2020-17-6-626-637.
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This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, which took place at the turn of the 19th and 20th centuries. Classical ballet, which had reached its peak in the works of the Russian ballet school and the works of M. Petipa, was suddenly recognized as outdated and unviable. The new generation of choreographers sought to refute, to a certain extent, the genre’s old laws. The idea of searching for new means of expression became the leading one, and the canon of classical choreography was replaced by pantomime and a new unusual dance technique, which later became known as modern dance. B. Bartók’s ballets “The Wooden Prince” (1917) and “The Miraculous Mandarin” (1919) are examples of the new type of ballet performance of the early 20th century. The article shows that the composer focused on creating a symphonic score corresponding to the ideas of pantomime. His appeal to this had been primarily dictated by the librettos themselves, in which B. Balázs and M. Lengyel had defined the work character in this way. Naturally, the rejection of classical ballet’s traditional forms influenced the works’ compositional features. The article demonstrates that the scores of “The Wooden Prince” and “The Miraculous Mandarin” are distinguished by a new approach to the musical structure, in which the principles of instrumental forms play a significant role. At the same time, each of the ballets expresses the dialectical pair of “canon and heuristic” in its own way: “The Wooden Prince” retains to a certain extent the flair of classical ballet; in “The Miraculous Mandarin”, this genre pattern is violated almost ostentatiously. In this work, B. Bartók’s appeal to such an anti-classical subject reflects the era’s new trends associated with the artistic movement of expressionism. In the Hungarian composer’s ballets, the dualism of the traditional and the innovative gives rise to a different type of ballet score itself.
Dissertations / Theses on the topic "Bartók, Béla, 1881-1945"
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Martinovský, Ondřej. "Béla Bartók - koncert pro violu a orchestr." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177972.
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Emmerson, Stephen B. "Programmatic and symbolic references in some early works of Bartók." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670332.
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Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.
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Kochbeck, Olivia M. "An Analysis of the Composition Process of Bartók's Eight Improvisations on Hungarian Peasant Songs, Op. 20." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2465/.
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This is a study of Bartók's compositional process as it relates to the Improvisations, Op. 20. The study, which focuses on the analysis of the draft manuscript 50PS1, compares the draft and other relevant sources with the final composition. Bartók's framework for the entire Improvisations is based on a compositional strategy of pairing individual improvisations combined with systematic revision of the draft copy by the introduction of tritones as tonal equivalents and movement by fifths from semitones, to achieve structural coherence in the individual improvisations. The tonic-dominant relationship is used to rearrange the individual improvisations in the draft and tritones as tonal equivalents are used to propel the movement between the improvisations to produce a coherent whole.
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BATES, KAREN ANNE. "THE FIFTH STRING QUARTET OF BELA BARTOK: AN ANALYSIS BASED ON THE THEORIES OF ERNO LENDVAI." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188175.
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The purpose of this paper is to present the non-traditional theo- retical techniques of Erno Lendvai and introduce the application of these techniques in a detailed analysis of the Fifth String Quartet of Bela Bartok. The theories of Lendvai are based on the Fibonacci Series, a series of integers which he assigns to consecutive half-step gradations of the chromatic scale. The numbers 1,2,3,5,8... are manipulated to produce two important cornerstones of his theory, namely mi-pentatony and alpha harmonies. According to Lendvai, mi-pentatony, directly related to the Hungarian folksong idiom, is the basic scale used by Bartok. Alpha harmonies are derived by the intervallic relationships created through the use of Fibonacci numbers. Erno Lendvai's theories, although not widely known, are a partial answer to the analytical problems Bartok's music presents. His con- cepts allow for tertian chords as well as non-tertian harmonies. By basing his theories on the intervallic relationships which comprise the folksong idiom, Lendvai's theories can account for much of Bartok's music. Lendvai's theory, in contrast to traditional tonality, not only allows the tritone interval between roots of chords, but relies heavily upon it. The axis system and relative chord structures establish polar relation- ships which give the same function to chords whose roots are a tri- tone apart. Through the use of polar exchange, it is possible to shift the tonal center by six key signatures, yet never alter the function of the two polarly related chords. The analysis portion of this paper is designed to give a struc- tural, tonal and harmonic overview of each movement, giving particular attention to three areas: pentatony; relative, modally related and substitute chord harmonies; alpha harmonies. These areas assume varying degrees of importance depending on the particular movement. The theories of Lendvai are too new and untried to place them into any kind of perspective at this time. Lendvai's own writings are concerned more with a few specific pieces of Bartok's works which conform neatly to golden section principles, clear cut use of models (1:2, 1:3, 1:5), or alpha harmonies. His writings avoid thses portions of Bartok's music which defy explanation using this methodology.
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Ujj-Hilliard, Emöke. "An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4480/.
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This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.
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Trabelsi, Mehdi. "La musique populaire arabe dans l'oeuvre de Béla Bartok : analyse de l'oeuvre ethnomusicologie et son impact sur l'oeuvre créatrice." Paris 4, 2002. http://www.theses.fr/2002PA040226.
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La présente thèse analyse l'œuvre ethnomusicologique de Béla Bartok consacrée à la musique populaire algérienne et montre l'impact de cette œuvre ethnomusicologique sur son œuvre créatrice. L'étude algérienne de Bartok a été publiée en 1917, puis en 1920, suite à son voyage en Algérie en 1913, au cours duquel il a enregistré sur un phonographe un ensemble de chansons populaires de la région de Biskra. Pour étayer notre analyse, nous avons procédé à la transcription de ces enregistrements sonores conservés au Bartok archivum de Budapest. Notre thèse comprend trois parties : La première partie traite du contact de Béla Bartok avec la musique arabe : nous comparons son étude algérienne à d'autres travaux réalisés sur les musiques populaires de tradition arabe, nous décrivons le voyage de Bartok en Algérie et sa participation au premier congrès de musique arabe qui a eu lieu au Caire en 1932. La deuxième partie est consacrée à l'analyse de l'étude algérienne de Bartok, et s'intéresse essentiellement à la classification des mélodies et à l'analyse du système mélodique et rythmique de la musique de Biskra et de ses environs. La troisième partie traite de l'impact de la musique populaire algérienne sur l'œuvre créatrice de Béla BartokThis thesis analyses the Bela Bartok ethnomusicological essays which deal with Algerian folk music and shows their impact on his creative work. The Bartok Algerian essays have been published after he returned from his Algerian journey in 1913, during which he has recorded on a phonograph a collection of folk songs from Biskra district. In order to support our thesis we have transcribed these sonorous records which are archived at "Bartok archivum" in Budapest. Our thesis consists of three parts: - The first part treats the contact of Bela bartok with the Arab music: we compare his Algerian essays with other works realised on folk music with Arab tradition. We will describe the Bartok journey in Algeria and his participation to the first Congress on Arab music, held in Cairo in 1932. The second part is devoted to the analysis of the Bartok Algerian essays and deals mainly with the melodic and rhythmic system of the Biskra district music. The third part treats the impact of the Algerian folk music on the creative work of Bela Bartok
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Vasconcelos, Rodrigo de Carvalho. "O segundo concerto para piano e orquestra de Béla Bartók : indagações formais /." São Paulo, 2020. http://hdl.handle.net/11449/192565.
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Orientador: Yara Borges CáznokResumo: O objeto de pesquisa desta Tese é o 2 o . Concerto para Piano e Orquestra de Béla Bartók (1881-1945), composto em 1931. Após a contextualização da obra, apresentamos uma análise musical. Nossa perspectiva dialoga com duas principais correntes analíticas: a Teoria da Forma Sonata (Hepokoski e Darcy, Caplin e Schmalfeldt) e as Teorias Pós-tonais (Antokoletz e Straus). A análise concentrou-se no 1 o . Movimento que, segundo o compositor, possuiria a Forma Sonata. Partindo desta declaração, procuramos compreender como opera, formalmente, a dinâmica entre ideias temáticas, motivos, coleções referenciais, relações contrapontísticas e texturais, e direcionalidade. O modelo da Forma Sonata foi colocado em discussão, realçando seus limites, sua maleabilidade e seus pontos de tensão, à luz dos procedimentos formais encontrados neste 1 o . Movimento. Os resultados analíticos descritos textualmente apresentam-se sintetizados por meio de gráficos, considerados parte integrante do procedimento metodológico.
Abstract: Béla Bartók’s (1881-1945) Concerto No. 2 for Piano and Orchestra, composed in 1931, is the primary focus of this thesis. Following the contextualization of the work, we present a musical analysis. Our aim is to bring together two analytical currents: the Sonata Theory (Hepokoski and Darcy, Caplin and Schmalfeldt) and Post-tonal Theories (Antokoletz and Straus). The analysis focuses on the First Movement, which according to the composer, is in Sonata Form. Based on his statement, we intend to understand how thematic ideas, motifs, referential collections, counterpoints, directionality, and texture interact against a formal background. We discuss the Sonata Form, highlighting its limitations, malleability, and points of tension, in light of the formal procedures found in the First Movement. The descriptions of analytical results are supported by graphs, which are considered an integral part of the methodology.
Doutor
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Haider, Liliana Isabela. "L'assimilation de la violonistique populaire roumaine dans les oeuvres pour violon solo ou avec accompagnement de Béla Bartok et de Georges Enescu." Nice, 2009. http://www.theses.fr/2009NICE2021.
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La présente thèse vise à contribuer au développement de la connaissance des compositions pour violon de George Enescu et de Béla Bartók, issues d’un contact direct de leurs créateurs (formés à l’école de la tradition musicale savante), avec la musique populaire. En outre, ce travail propose une approche nouvelle de l’interaction entre les deux domaines en apparence opposées, en faisant référence à l’interprétation violonistique. Les musiciens populaires de Roumanie, appelés lăutari, ont influencé la pensée des deux compositeurs, qui ont assimilé non seulement des éléments du langage et répertoire populaires, mais aussi des techniques de jeu instrumental. Il était donc nécessaire d’étudier les aspects ethnomusicologiques étroitement liés à la tradition populaire roumaine, et les aspects anthropologiques, visant la relation de l’art avec la société humaine qui le produit. Si l’œuvre de Bartók et d’Enescu a jusqu’ici été étudiée du point de vue du langage musical et de la modernité qu’incarnent les deux compositeurs, les aspects instrumentaux n’ont, quant à eux, guère été abordés. C’est pourquoi nous avons choisi d’ouvrir ce débat : la méthodologie adoptée dans notre travail est comparative, fondée sur des exemples musicaux issus de la musique populaire et des œuvres pour violon des deux compositeurs. L’objectif est de créer, grâce à cette méthode, un lien entre l’analyse musicale et l’interprétation vivante. Cette recherche s’inscrit dans le domaine des sciences humaines, car, l’art, savant ou populaire, est produit par l’homme et s’adresse à la sociétéThe present thesis aims at contributing to the development of the knowledge of the compositions for violin of George Enescu and Béla Bartók, stemming from a direct contact of their creators, (formed at the school of the learned musical tradition), with the popular music. Besides, this work proposes a new approach of the interaction between both domains seemingly set, by making reference to the violonistique interpretation. The popular musicians of Rumania, called lautari, influenced the thought of both composers, who likened not only popular elements of the language and the directory, but also techniques of instrumental play. It was thus necessary to study the ethno musicological aspects strictly connected to the Rumanian popular tradition, and the anthropological aspects, aiming at the relation of the art with the human society which produces it. If the work of Bartók and Enescu was studied up to here from the point of view of the musical language and of the modernity which embody both composers, the instrumental aspects have, as for them, hardly approached. That is why we chose to open this debate: the methodology adopted in our work is comparative, established on musical examples stemming from the popular music and the works for violin of both composers. The objective is to create, thanks to this method, a link between the musical analysis and the alive instrumental performance. This research joins in the field of the human sciences, because, the art, learned or popular, is produced by the man and addresses the society
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Seress, Hugues. "La musique « folklorique » pour piano (1907 – 1920) de Béla Bartók : emprunt symbolique, matériau combinatoire." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040101.
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L’emprunt au folklore constitue une des nombreuses manipulations effectuées par le créateur du début du XXe siècle, à partir d’un matériau préexistant à son œuvre. Ces manipulations sont sous-tendues par de multiples processus identitaires, qui souvent détournent le regard de l’analyste, de l’œuvre vers l’ensemble de ses connotations contextuelles et symboliques. S’interroger sur les conséquences, tant stylistiques que techniques, de ces phénomènes, ne semble pas aller de soi. En réexaminant la structure tonale d’œuvres, avec et sans emprunt, composées par Béla Bartók entre 1903 et 1920, via un modèle d’inspiration néo-riemannienne permettant une interprétation de leur parcours tonal sur la définition d’unités triadiques, cette étude propose de réévaluer, au-delà de leur tonalité, des répertoires encore trop souvent considérés comme séparés par une ligne de faille assez peu perméable : celle entre romantisme et modernitéBorrowing from folklore constitutes one of the numerous operations done by early 20th century creators from a material pre-existing to their works. Those operations are subtended by multiple identity-searching processes that often shift the eyes of the analyst away from the work to the whole of its symbolical and contextual connotations. Questioning oneself about the consequences, be they stylistic or technical, of those phenomena doesn’t seem to be taken for granted. By reexamining the tonal structure of works, with or without borrowings, composed by Béla Bartók between 1903 and 1920, through a pattern of Neo-Riemannian inspiration, enabling an interpretation of their tonal distances based on the definition of triadic unit. This study aims at reassessing, beyond their tonality, corpuses still to often considered as split apart by a rather impervious flaw line, that between romanticism and modernity
Books on the topic "Bartók, Béla, 1881-1945"
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Paolo, Susanni, ed. Béla Bartók: A research and information guide. 3rd ed. New York: Routledge, 2011.
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Malcolm, Gillies, ed. The life and music of Béla Bartók. 3rd ed. Oxford: Clarendon Press, 1993.
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Frigyesi, Judit. Béla Bartók and turn-of-the-century Budapest. Berkeley, CA: University of California Press, 1998.
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Brown, Julie. Bartók and the grotesque: Studies in modernity, the body and contradiction in music. Aldershot, England: Ashgate, 2007.
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Frigyesi, Judith, and Judit Frigyesi. Béla Bartók and Turn-of-the-Century Budapest. University of California Press, 2000.
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Antokoletz, Elliott, and Paolo Susanni. Béla Bartók: A Research and Information Guide. Taylor & Francis Group, 2023.
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Antokoletz, Elliott, and Paolo Susanni. Béla Bartók: A Research and Information Guide. Taylor & Francis Group, 2011.
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Antokoletz, Elliott, and Paolo Susanni. Béla Bartók: A Research and Information Guide. Taylor & Francis Group, 2023.
Find full textBook chapters on the topic "Bartók, Béla, 1881-1945"
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"Béla Bartók (1881–1945)." In The Classical Music Lover's Companion to Orchestral Music, 27–49. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-005.
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"Béla Bartók (1881–1945)." In Accompanied Voices, 127–28. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-059.
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Whittall, Arnold. "Béla Bartók." In Music since the First World War, 31–50. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198165330.003.0003.
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Abstract Béla Bartók (1881-1945) completed his Second String Quartet in October 1917, and Halsey Stevens rightly says that ‘the whole direction of Bartók’s later writing might be deduced from this one work’.’ Then in his thirty-seventh year, Bartók had gradually developed a personal style from two principal sources: other composers, most notably Liszt, Strauss and Debussy; and folk music, which played a vital part in his life from 1905 onwards. Of all his earlier works it was probably the one-act opera, Bluebeard’s Castle (1911), which marked the most decisive stage in the establishment of this style, which, for all its various impressionistic, expressionistic and nationalistic components, clearly involved a reinforcement of tonality at precisely the time when Schoen berg was confirming his abandonment of it, and even Stravinsky (in The King of the Stars) seemed to be bracing himself to follow suit.