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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.
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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
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Palazzetti, Nicolo'. ""Le musicien de la liberté." Le réception de Béla Bartók en Italie (1900-1955)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0085.
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Cette thèse est consacrée à la réception de la figure et de l’œuvre de Béla Bartók (1881-1945) en Italie, dans la première moitié du XXe siècle. Opérée depuis un point de vue musicologique, l’analyse de l’influence bartókienne dans les œuvres de nombreux compositeurs italiens (d’Alfredo Casella à Bruno Maderna) invite à reconsidérer l’évolution du modernisme artistique en Italie, ainsi que les fondements de la poétique du musicien hongrois – informée par le nationalisme magyar, la « pureté » du folklore paysan et l’utopie de la « musique nocturne ». Par ailleurs, l’étude des formes de transmission et de critique de l’un des compositeurs canoniques du siècle dernier soulève des enjeux plus généraux, qui relèvent de l’histoire culturelle : la continuité entre modernisme artistique et totalitarisme, les formes et les significations de la résistance culturelle, les rapports entre musique et diplomatie, la construction du mythe antifasciste de Bartók. À bien des égards, la « vague bartókienne » qui s’affirma en Italie pendant la période de la guerre froide fut l’aboutissement de la fusion entre le mythe de Bartók – ce « musicien de la liberté » dont parlait le critique Massimo Mila – et le mythe de la renaissance nationale. Une fusion qui avait ses origines dans le paysage sonore de la dictature fasciste et de la ResistenzaThis thesis focuses on the reception of Béla Bartók’s music and figure in Italy during the first half of the twentieth century. From a musicological standpoint, the analysis of Bartók’s influence on the works of several Italian composers (from Alfredo Casella to Bruno Maderna) invites us to reconsider the evolution of artistic modernism in Italy, as well as the foundations of Bartók’s poetics – which is informed by Hungarian nationalism, the “purity” of peasant folklore, and the utopia of “night music”. Furthermore, the study of the forms of transmission and criticism of one of the canonical composers of the last century raises broader issues concerning cultural history, such as: the continuity between artistic modernism and totalitarianism, the forms and meanings of cultural resistance, the relation between music and diplomacy, and the construction of the antifascist myth of Bartók.This thesis argues that the Bartókian Wave, which emerged in Italy during the early Cold War period, was the result of the fusion between the Bartók myth – i.e. the “musician of freedom” celebrated by the critic Massimo Mila – and the myth of national regeneration: a fusion that had its origins in the soundscape of Fascist dictatorship and the Resistenza
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Kingan, Michael Gregory. "The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278688/.
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The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.
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Polgár, Éva 1983. "Two Piano Editions of the Third and Fifth Movements of Bartók's Concerto for Orchestra: Their Textual Fidelity and Technical Accessibility." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862794/.
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In the case of Concerto for Orchestra, Béla Bartók transcribed one of his most emblematic orchestral compositions to his own solo instrument, the piano. This transcription's primary function was to suffice for ballet rehearsal accompaniment for the choreography to be introduced alongside a performance of the orchestral work. György Sándor, Bartók's pupil and pianist, prepared the original manuscript for publication. Logan Skelton, pianist-composer, used this published edition as a point of departure for his own piano arrangement of the same work. György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.
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Gallot, Simon. "György Ligeti : populaire et savant : aux origines du style." Lyon 2, 2005. http://theses.univ-lyon2.fr/documents/lyon2/2005/gallot_s.
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György Ligeti est considéré aujourd'hui comme l'un des plus grands compositeurs de la seconde moitié du XXe siècle. Pourtant, une partie importante de sa production demeure méconnue. Grâce à de nouvelles sources, concernant en particulier la période hongroise de création, l'évolution stylistique apparaît sous un autre jour ; le point de vue envisagé dans cette étude permet de reconsidérer l'œuvre entier. La notion de populaire y est envisagée selon ses diverses acceptions, que l'on s'attache à déceler les influences des musiques populaires, à déterminer les aspects liés à la popularité du compositeur, ou encore à commenter certaines tendances populistes à une époque bien précise. Une première partie, introductive, regroupe un essai monographique sur les années hongroises et un état des lieux du corpus. La seconde partie envisage l'importance de la Hongrie (et plus largement de l'Europe centrale) dans la production. Elle met également en évidence la filiation avec Béla Bartók et propose une traduction des poèmes hongrois mis en musique. Une troisième partie tente d'abord de mettre en relation l'œuvre avec certains éléments biographiques. Les années qui précèdent l'arrivée en Europe de l'Ouest sont ensuite l'occasion de revenir sur une période où la recherche d'un style personnel conduisit le compositeur à mettre en balance les points de vue de Bartók et de Schœnberg. Enfin, l'influence des musiques du monde mais aussi du jazz ou des autres formes de musiques populaires sont soumises à examen. Un important travail de collecte et de traduction tient lieu d'annexes : on y trouvera par exemple un catalogue détaillé des œuvres ainsi que la traduction d'articles du compositeur sur la musique populaireGyörgy Ligeti is nowadays perceived as one of the most important composer of the second half of the 20th century. However, most of his production remains unrecognized. Thanks to new elements, including among others the Hungarian period of his creation, the evolutioon of a style is given a new light. The adoption of a new point of view for this study allows us to reconsider the entire works. We shall focus on the concept of popular and its varied meanings, such as the influence of different forms of popular music, the aspects of the composer's popularity, or the existence of some populiste inclinations at a certain time. A first introductory part both includes a monograph of the Hungarian years and an inventory of fixtures of the corpus. The second part focuses on the prominence of Hungary and Central Europe in his production. This same part points the filiation with Béla Bartók and give a translation of the musical Hungarian poems. The third part first attempts to match Ligeti's work with some biographical elements. Then, the years preceeding his arrival in West Europe give us the opportunity to get back to a certain period when the research of a personnal style led the composer to balance Bartók's and Schœnberg's views. Eventually, the influence of folk music, jazz music and others popular music shall be discussed. A major work of collecting and translating is to be found in the annex ; an exhaustive catalogue of works or the translation of the composer's folk music based articles are a few examples
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Clifford, Robert John. "Aspects of meter and accent in selected string quartet movements by Beethoven and Bartok." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/277928.
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Various approaches to rhythmic analysis have been produced by recent research. Many of these are most suitable for tonal musical compositions; when other methods of tonal organization are present, these theories are less useful. This study uses accent based criteria in order to establish a set of analytical procedures which are applicable to a wide range of musical compositions. Four accent types (contour, agogic, dynamic, and motivic) are identified in two string quartet movements. These are Beethoven's Op. 18, No. 1, movement four, and Bartok's String Quartet No. 4, movement five. The study finds great differences in accent placement between the two works. In both works accents affect phrase grouping and meter. Accent patterns and composite accent profiles, which represent all the accent types in a particular passage, are compiled for important themes. Large fluctuations in accent use are evident between the formal sections of each work.
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Brito, Mariana do Socorro da Silva. "A construção da performance das seis danças romenas de Béla Bártok: memorial de um processo criativo centrado no corpo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/174079.
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Esta dissertação consiste de um memorial do processo de construção da performance das Seis Danças Romenas de Béla Bártok por uma perspectiva da cognição corporificada. Fundamentada na proposição de objetos sônico-gestuais coarticulados de Godøy (2006; 2011) e na abordagem gestual de Pierce (2007) esta pesquisa investigou através da prática artística como gesto e som modelam-se mutuamente e de que maneira esse processo contínuo influencia a concepção da obra e as relações entre performer, música e instrumento. Considerando que as vivências do corpo não se limitam à prática pianística, foram trazidas perspectivas de experiências externas que contribuíram para a consciência corporal e que proporcionaram insights relevantes para a condução do processo artístico. A abordagem metodológica reúne a Pesquisa Artística e a Autoetnografia no que concerne desvelar o conhecimento corporificado inerente a um processo de criação artística através da narrativa pessoal. A documentação do processo compreendeu: 1) anotações em um diário das vivências, aulas de piano e sessões de estudo; 2) gravações de vídeo de sessões de estudo; 3) gravações de performances ao longo do processo; 4) comparação entre a gravação final da performance da obra e a primeira gravação realizada em momento anterior à pesquisa. Estes registros foram examinados com o propósito de compreender o processo artístico de uma perspectiva de corpo e música em constante estado de devir, identificando os momentos de insights mais significativos, e mapeando os recursos criativos elaborados pela performer ao longo do processo. As reflexões da performer acerca do processo conduziram a um reconhecimento de si mesma como sujeito corporificado, a perceber a música como fenômeno essencialmente corporal, e a transformações na concepção da obra. O processo artístico centrado no corpo acarretou mudanças significativas na interação da performer com o instrumento, o desenvolvimento de um maior repertório gestual, um incremento dos recursos expressivos, e o refinamento da percepção auditiva, promovendo o desenvolvimento da criatividade e da autonomia artística, bem como da maturidade emocional.This dissertation is the performer’s account of the process of constructing a performance of Béla Bártok’s Romanian Folk Dances from the perspective of embodied cognition. Based on Godøy’s proposition of gestural-sonic coarticulation (2006; 2011), and Alexandra Pierce’s gestural approach to piano performance (2007), this research investigated how gesture and sound shape one another, and how this continuous process affects the conception of the work and the relations between performer, music and instrument. Considering that lived experience exceeds piano practice, perspectives from extra-musical activities were considered due to their contribution towards promoting bodily awareness and insights that were relevant to the artistic process. The methodological approach draws from Artistic Research and Autoethnography in regard to uncovering embodied knowledge ingrained in the process of artistic creation through personal narrative. The documentation of the process comprised: 1) a journal describing practice sessions, piano lessons and extra-musical experiences; 2) video recordings of practice sessions; 3) video recordings of performances along the process; 4) a comparison between the final performance and the first recording of the piece made prior to the present research. These records were examined with the purpose of comprehending the artistic process from the perspective of body and music in a constant state of becoming, identifying the most meaningful moments of insight, and mapping creative resources devised by the performer during the artistic process. The performer’s reflections upon the process lead to recognizing oneself as an embodied subject, to perceiving music as an essentially corporeal phenomenon, and to transformations in the conception of the musical work. The artistic process centered on the performer’s body promoted significant changes in the performer’s interaction with the instrument, the development of a broader gestural repertoire, an increment in expressive resources, and the refinement of aural perception, fostering the growth of creativity and artistic autonomy, as well as emotional maturation.
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Rollin, Pascal. "La Barbe-Bleue : mythe, conte, légende : portrait de l'homme si laid et si terrible." Paris 4, 1998. http://www.theses.fr/1998PA040150.
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Barbe-bleue parcourt depuis les confins du moyen-âge un espace immense que ne parviennent à borner ni la géographie ni la chronologie. Du funeste roi breton qu'il fut à l'origine au mari secrètement blessé des opéras du XXème siècle, il endosse différents costumes dont le plus solide est sans doute celui que lui confectionna Perrault. Nous nous proposons, en une sorte de monographie, de visiter la galerie des portraits anciens et modernes de cet homme "si laid et si terrible", et de sa femme "parfaitement belle". Notre plan comprend trois parties : I légende de Barbe-bleue lorsqu'il n'est encore question ni de barbe, ni de couleur bleue (Ballade d'Halewijn ; légende de sainte-Tryphime ; Gilles de Rais ) ; II la véritable Barbe-bleue étude du conte de Perrault, suivie de celle des versions de Delarue, Calvino, Grimm, Pourrat ; III vers le mythe littéraire : Barbe-bleue sur scène inventaire commenté des adaptations théâtrales, lyriques et romancées, complété d'une filmographie ; étude, en particulier, des œuvres de Grétry, Offenbach, Dukas, Bartók : le second volume, une anthologie, comprend notamment le texte des pièces de ces deux derniers compositeursBluebeard runs to us from the medieval times, in a space which neither geography nor chronology cannot mark: but if he wears very different costumes, the most becoming is the Charles Perrault’s one. We invite you to follow us in the gallery of his ancient and modern portraits. I Barbe-bleue's legend, when the blue color or the beard are not really the point (ballad of sir Halewijn ; saint-tryphime's legend ; Gilles de Rais); II the true bluebeard : an extensive study of the Perrault’s tale, followed by the Delarue's, Calvino's, Grimms and Pourrat's ones ; III the literary myth : bluebeard on stage ; a comprehensive inventory of the stage works, including a study of Gretry's, Offenbach's, Dukas's and Bartok's lyrical works
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"Readings and re-readings of Béla Bartók's fifth and sixth quartets." 2006. http://library.cuhk.edu.hk/record=b5896469.
Full textAbstract:
Wong Hiu Lam.Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 104-109).
Abstracts in English and Chinese.
Abstract --- p.iv
Abstract (Chinese Translation) --- p.v
Acknowledgements --- p.vi
Chapter Chapter 1 --- Introduction --- p.1
Overview of Bartok's six quartets --- p.1
Literature review --- p.4
Objectives --- p.9
Chapter Chapter 2 --- "Karpati, Antokoletz and Wilson's Analytical Approaches" --- p.11
Karpati's idea of mistiming --- p.11
Antokoletz's interval cycle and interval ratio --- p.13
Wilson's interest in structural hierarchy --- p.18
Chapter Chapter 3 --- "The Fifth Quartet, First and Fifth Movements" --- p.23
"The Fifth Quartet, first movement" --- p.24
Form --- p.24
Pitch centres --- p.26
Fourths --- p.28
"The Fifth Quartet, fifth movement" --- p.35
Form --- p.35
Pitch centres --- p.37
Fourths --- p.37
Symmetries --- p.41
Chapter Chapter 4 --- "The Fifth Quartet, Second and Fourth Movements" --- p.45
Bartok's analysis of the Fifth Quartet --- p.45
Other analyses --- p.46
Bartok's formal analysis of the second and fourth movements --- p.47
An extended introduction --- p.48
Similarities between the second and fourth movements --- p.49
Prominent intervals and pc sets --- p.49
Instrumental sequence --- p.53
Juxtaposition and superimposition of(0123)s and (0167)s --- p.53
Juxtaposition and superimposition: melody and chordal accompaniment --- p.54
Thematic kinship --- p.55
Texture --- p.57
Chapter Chapter 5 --- "Figuring Thirds in the Fifth Quartet, Third Movement" --- p.59
Formal structure of the whole quartet and the third movement --- p.59
Motive a and third-structure --- p.60
"Definition of ""third-structure""" --- p.61
Arch-shaped melodies formed by thirds --- p.61
Third-structures and the diatonic collection --- p.62
Third-structures and the octatonic collection --- p.62
Third-structures and the chromatic collection --- p.67
Referential collections and formal structure --- p.67
Chapter Chapter 6 --- "The Sixth Quartet, First and Fourth Movements" --- p.69
Existing Literature --- p.69
Formal structure --- p.71
Mesto themes of the two movements --- p.73
An unusual finale --- p.75
Fourths --- p.79
Chapter Chapter 7 --- "Duality in the Sixth Quartet, Second Movement" --- p.84
Karpati and dual thirds --- p.87
Dual centres B and G# --- p.88
(0347)s --- p.90
Relationship between duality and form --- p.92
Chapter Chapter 8 --- "The Sixth Quartet, Third Movement" --- p.94
Chapter Chapter 9 --- Conclusion --- p.100
Selected Bibliography --- p.104
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Brukman, Jeffrey James. "Expanded tonality in three early piano works of Béla Bartók (1881-1945)." Diss., 1998. http://hdl.handle.net/10500/16102.
Full textAbstract:
Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music,
notwithstanding tonally camouflaging surface details, clearly had a tonal foundation
which in many respects is a reaction to the emerging atonalism of Schonberg.
Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language
embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k
employed to obscure tonicisation embrace double-degree constructions, quartal
formations, chords of addition and omission and other irregular constructions.
Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic
root movement. Through an application of the Riemann function theory expanded by
Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase
Strauss cadences or closes) becomes apparent within an expanded tonal product.
The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century
manifestation of traditional tonality's primary tenets.Musicology
M.Mus.
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"A study of Bartók's first two piano concertos." Chinese University of Hong Kong, 1996. http://library.cuhk.edu.hk/record=b5895721.
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Asbell, Stephanie Ames 1970. "Béla Bartók's Viola concerto : a detailed analysis and discussion of published versions." 2001. http://hdl.handle.net/2152/12834.
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Malone, Michael John 1972. "Symbols of transformation : reconceptualizing the boundaries of organicism in the music of Béla Bartók." 2008. http://hdl.handle.net/2152/17981.
Full textAbstract:
This dissertation uses Béla Bartók's 1943 Concerto for Orchestra as a focal point for investigating conceptual models of music based on early twentieth-century notions of organicism. In particular, this project brings together two traditions--one structural, one narrative--in an attempt to integrate motivic allusion and programmatic discourse, and places this piece within a metadiscourse of musical 'Fate' stories that continually point back to Beethoven. Based largely on the work of George Lakoff, chapter 1 is an overview of modern category theories that rejects objectivism and establishes a philosophical view of meaning that is shaped by our conceptual models. Chapter 2 is a comparison of the writings of Schoenberg and Bartók that invoke organicist values of musical development and variation. Stemming from Bartók's claim that Schoenberg's Op. 11 showed composers the "new ways and means" of modern composition, this chapter speculates on potential influences and involves a reinvestigation of Schoenberg's Op. 11, No. 1. Chapter 3 examines the difference between strict hierarchical models of music and metonymic reductions. Following a critique of Fred Lerdahl's recent attempts to apply his Chomskian prolongational model to post-tonal and atonal music, this chapter traces the integration of motivic parallelism and key architecture in tonal music as a primary organizing feature of musical form, foreshadowing their use by Bartók as replacements for the structural functions of harmony. Chapter 4 investigates the relationship of musical motives and post-Beethovenian narratives of fate/overcoming and fate/death in music by Bizet, Verdi, Tchaikovsky, and Richard Strauss, providing a context for Bartók's motivic and programmatic allusion to--and transformation of--that very tradition. Chapter 5 draws the material from the previous chapters together in a structural-programmatic reading of the Concerto for Orchestra that situates it as a transformation of the evolving traditions that inform it.text
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Tu, Hsien-Ching, and 涂弦慶. "Analysis and Interpretation of theConcerto for Viola with Orchestra, op. posth.by Béla Bartók (1881- 1945)." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/18631051594378783686.
Full textAbstract:
碩士東吳大學
音樂學系
98
Because of the emergence of many fabulous musicians during 19th and 20th century, there were more and more composers composing music for the viola. Bartok is not only one of the greatest musicians of the 20th century, but his music also has great significant influences on the viola concertos This thesis has three parts: the beginning is the introduction of Bartok’s life, background of composition, and masterpieces; the second part is the analysis of the constructions, musical forms, harmony, and musical phrases of the three movements; the last part is concluded with my personal opinions by interpreting the concerto and comparing different editions. Furthermore, I hope that, through this thesis, many musical learners and listeners who are unfamiliar with viola repertoires could easily understand and really enjoy the musical characteristics of Bartok more.
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Oubre, Larry Allen 1955. "The "new Hungarian art music" of Béla Bartók and its relation to certain Fibonacci series and golden section structures." 2006. http://hdl.handle.net/2152/12977.
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Susanni, Paolo. "The musical language and formal structure of Bartók's Sonata for piano (1926)." 2001. http://hdl.handle.net/2152/10842.
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