Relevant bibliographies by topics / Bela Bartok

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Bela Bartok'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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Journal articles on the topic "Bela Bartok"

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Jellinek, G. "Bluebeard's Castle. Bela Bartok." Opera Quarterly 15, no. 1 (January 1, 1999): 165–66. http://dx.doi.org/10.1093/oq/15.1.165.

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Graeme, R. "Bluebeard's Castle. Bela Bartok." Opera Quarterly 20, no. 2 (April 1, 2004): 335–38. http://dx.doi.org/10.1093/oq/kbh050.

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Pettan, Svanibor, and Benjamin Suchoff. "Bela Bartok Studies in Ethnomusicology." Yearbook for Traditional Music 31 (1999): 126. http://dx.doi.org/10.2307/767977.

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Somfai, Laszlo, and Paul Wilson. "The Music of Bela Bartok." Notes 50, no. 1 (September 1993): 151. http://dx.doi.org/10.2307/898724.

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Pople, Anthony, and Paul Wilson. "The Music of Bela Bartok." Musical Times 134, no. 1809 (November 1993): 651. http://dx.doi.org/10.2307/1002807.

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Cooper, David, and Paul Wilson. "The Music of Bela Bartok." Music Analysis 13, no. 2/3 (July 1994): 319. http://dx.doi.org/10.2307/854265.

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Lampert, Vera, and Elliott Antokoletz. "Bela Bartok: A Guide to Research." Notes 46, no. 4 (June 1990): 949. http://dx.doi.org/10.2307/941268.

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Leafstedt, Carl S., Denijs Dille, and Yves Lenoir. "Bela Bartok: Regard sur le passe." Notes 48, no. 1 (September 1991): 98. http://dx.doi.org/10.2307/941790.

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Schneider, David E., Tibor Tallian, Gyula Gulyas, and Malcolm Gillies. "Bela Bartok: The Man and His Work." Notes 48, no. 3 (March 1992): 880. http://dx.doi.org/10.2307/941711.

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Antokoletz, Elliott, and Laszlo Somfai. "Bela Bartok: Composition, Concepts, and Autograph Sources." Notes 53, no. 4 (June 1997): 1140. http://dx.doi.org/10.2307/899459.

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Dissertations / Theses on the topic "Bela Bartok"

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Manig-Sylvan, Joseph T., and Joseph T. Manig-Sylvan. "Bela Bartok: Sonata for Solo Violin (1944)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626226.

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Dasika, Niran Jay. "Applications of Béla Bartók's techniques of pitch organisation to jazz improvisation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2408.

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The music of Hungarian composer Béla Bartók (1881-1945) reconciles hauntingly lyrical beauty with harsh, atonal dissonance, appealing to music fans, musicians, and theorists alike for over a century and suggesting a rich resource of inspiration for improvising musicians. The composer Pierre Boulez commented that “Whether it is in a brutal violence animating a sound material in fusion, or in a tranquil gentleness glowing in a halo of grating sounds and colours… Bartók is incomparable and remains unique”. Informed by Bartók theorists Elliott Antokoletz, János Kárpáti, Erno Lendvai, and by Bartók’s own writings, this research identifies four melodic techniques: ‘mistuning’, ‘chromatic compression and diatonic extension’, ‘polymodal chromaticism’, and ‘inversional symmetry’. These four techniques inform a reflexive practice-led research project developing a collection of practice methods aimed at internalising and executing the techniques in improvised performance. The resulting practice methods were implemented and documented over a one-year period, exploring and evaluating concepts of automaticity and motor program theory. The research culminates in a collection of recordings along with this exegetical text reflecting on the process and results of the research. This project aims to expand my improvising practice, fuel the creation of new, interesting music, and to generate insights into ways other musicians and jazz students may approach the work and analysis of composers such as Bartók as a source of inspiration.
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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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Gargiulo, Catherine. "Rhythmic Emancipation, Confrontation and Triumph: An Analysis of String Quartets Nos. 1 and 4 by Bela Bartok." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1035.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Music
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Tan, Chee-Tick. "Piano Quintet." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277681/.

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The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.
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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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Delbridge, Nadine. "The viola concerto, Opus posthumous by Bela Bartok : the conerto's history and a systematic comparison of the solo viola part, as interpreted from the original manuscript, by Tibor Serly & William Primrose; Peter Bartok & Nelson Dellamaggiore and Csaba Erdelyi /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17616.pdf.

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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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Osborne, Mark John. "Composition thesis : Chiaroscuro, Kinesis, Sainte, Double Concerto, Gitanjali, Bulgarian dance in homage to Bela Bartok, In Praise of Trees, Lacrimosa, Sonata for two pianos, Symphony for Orchestra." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334315.

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Lucas, Sarah Marie. "Fritz Reiner and the legacy of Béla Bartók’s orchestral music in the United States." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6608.

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During Fritz Reiner’s forty-year conducting career in the United States, he championed Béla Bartók’s orchestral music, programming Bartók’s orchestral works on over sixty concerts with the Cincinnati Symphony Orchestra, Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, and with other major American orchestras. These included performances in which the composer himself appeared as a soloist. Moreover, Reiner continued to conduct Bartók’s music following the composer’s death, and his efforts to promote Bartók’s works contributed to their significance to the American orchestral repertoire. The thesis explores connections between performance markings in Reiner’s personal copies of Bartók scores and the recordings he made of them, the ways in which Reiner’s live performances and recordings of Bartók’s music affected the American reception of Bartók’s works, and how Reiner’s collaboration with Bartók related to the revision of Bartók’s orchestral works in their published forms through case studies of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and The Miraculous Mandarin. The first case study considers Bartók’s performances of his Piano Concerto no. 1 with Reiner during his first U.S. concert tour of 1927-1928. Following an overview of Bartók’s activities in America during that time, three first-edition scores of Piano Concerto no. 1 are analyzed in order to show the significance of handwritten additions, corrections, and conducting markings made by Fritz Reiner, a Universal Edition staff member, and Serge Koussevitzky in preparation for performances with Bartók in 1928. It not only provides a window into early performances of the work with the composer at the piano in the absence of a recording, but also offers insight into Bartók’s preferences for performance of the work, some of which are reflected in the first or second editions of the work, and some of which are only preserved in Reiner’s scores. The second case study examines a new source for Bartók’s Concerto for Orchestra held at Northwestern University that bears extensive corrections by Bartók, as well as Reiner’s conducting markings. It discusses the circumstances surrounding Reiner’s acquisition of the score and its role in Reiner’s performances and recordings of Concerto for Orchestra with the Pittsburgh Symphony Orchestra and the Chicago Symphony Orchestra. The third and final case study details Reiner’s preparation and performance of two concert versions (“Scenes” and “Suite”) of Bartók’s pantomime The Miraculous Mandarin using Reiner’s annotations to four versions of the score held at Northwestern, Bartók’s correspondence with his publisher, and program notes from Reiner’s 1927 world premiere of the “Scenes” to provide a better understanding of Reiner’s preparation and performances of both the “Scenes” and “Suite.” It further analyzes press coverage of his performances of the “Suite” to demonstrate that the press reaction to objectionable elements of the plot mellowed over time, and that critics consistently praised Reiner’s expert preparation and interpretation of the work. The thesis considers the publication and performance history of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and the concert versions of The Miraculous Mandarin in terms of Reiner’s collaboration with Bartók, his role in the promotion of Bartók’s music in the U.S., and his reputation as an authoritative interpreter of it.
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Books on the topic "Bela Bartok"

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Bela Bartok--pedagog. Moskva: "Muzyka", 1985.

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Ekerwald, Carl Göran. Bela Bartok: Musik och ideologi. Stockholm: Carlssons, 1995.

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Voinova, M. V. Bela Bartok segodni︠a︡: Sbornik stateĭ. Moskva: Nauchno-izdatelʹskiĭ t︠s︡entr "Moskovskai︠a︡ konservatorii︠a︡,", 2012.

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Tallián, Tibor. Bela Bartok: The man and his work. Budapest: Corvina, 1988.

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Bartók, Concerto for orchestra. Cambridge: Cambridge University Press, 1996.

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Peter, Laki, ed. Bartók and his world. Princeton, NJ: Princeton University Press, 1995.

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Lescat, Philippe. Western music from gregorian chant to Bela Bartok. Courlay: Editions J.M. Fuzeau, 1997.

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Antokoletz, Elliott. The music of Bela Bartók: A study oftonality and progression in twentieth-century music. Berkeley: University of California Press, 1989.

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Inside Bluebeard's castle: Music and drama in Bartók's opera. New York: Oxford University Press, 1999.

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Malcolm, Gillies, ed. Bartók remembered. London: Norton, 1991.

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Book chapters on the topic "Bela Bartok"

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Lampert, Vera. "The Miraculous Mandarin: Melchior Lengyel, His Pantomime, and His Connections to Bela Bartok." In Bartók and His World, 149–71. Princeton University Press, 1996. http://dx.doi.org/10.1515/9780691219424-008.

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Aylward, Michael. "Gimpel’s Theatre, Lwów." In Polin: Studies in Polish Jewry Volume 32, 125–46. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0008.

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This chapter examines how the music of the Yiddish theatre was preserved on gramophone records between 1904 and 1913. It describes how the gramophone brings to life the sounds and atmosphere of the popular Yiddish theatre in Galicia in the most vivid manner imaginable. It also talks about the record companies that focused on Gimpel's theatre in Lwów, such as Favorite, Beka, and the Gramophone Company that recorded about 800 titles of Yiddish theatre music. The chapter provides a very brief history of the theatre founded by Jakob Ber Gimpel and gives an overview of the recordings the theatre made in the decade preceding the First World War. It mentions the field recordings being made in rural Hungary by Béla Bartók and Zoltán Kodály.
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Makarowicz, Przemysław, Jan Romaniszyn, and Vitalii Rud. "The barrow culture of the Upper Dniester Basin in the 3 rd and 2 nd millennia BC: The Polish-Ukrainian research projects." In Treasures of Time: Research of the Faculty of Archaeology of Adam Mickiewicz University in Poznań, 176–96. Adam Mickiewicz University Poznan, 2021. http://dx.doi.org/10.14746/wa.2021.13.978-83-946591-9-6.

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Since 2009, the international Upper Dniester Expedition has conducted field research (field-walking surveys, non-invasive and excavation) and analytical studies in the Eastern Transcarpathia. These investigations are part of a broader research programme – a study of ‘The Biocultural Borderland between the East and the West of Europe’. The projects concern a comprehensive reconnaissance of barrow cemeteries dated to the 3 rd and 2 nd millennia BC, located in the mixed forest-steppe and forest belt in the basin of the Upper Dniester River. For almost 1500 years, this type of funeral architecture shaped the ‘mortuary landscapes’ of the communities successively inhabiting that area. Hence, the barrow cemeteries are an important source for understanding the mechanisms and trajectories of cultural development in this part of Europe, and consequently the subject of intensive studies within several research projects. This article describes the aims and results of two already completed and one ongoing project in the Upper Dniester Basin. Thanks to the use of modern research methods, both in the field of archaeology and ‘archaeological sciences’, it has been possible to present a wide spectrum of regularities/principles concerning the ‘barrow landscapes’, the chronology of the creation of selected cemeteries, and the construction of regular, linear arrangements of barrows. Furthermore, the projects have and are providing large collections of archaeological (ceramic, lithic, metals, etc.), anthropological, archaeobotanical and archaeofaunal material for future analyses.
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Conference papers on the topic "Bela Bartok"

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Franklin, Jerrold. "Phenomenological quark model for baryon magnetic moments and beta decay ratios (G_A/G_V)." In International Europhysics Conference on High Energy Physics. Trieste, Italy: Sissa Medialab, 2001. http://dx.doi.org/10.22323/1.007.0176.

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Hışırlı, Serhat, Zeynep Karaçor, and Emine Fırat. "Globalization, Road and Belt Project and Expected Results." In International Conference on Eurasian Economies. Eurasian Economists Association, 2022. http://dx.doi.org/10.36880/c14.02653.

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One of the most important occupations for human beings since the day they existed has been to provide the necessary nutrients to sustain their life. As time progressed in this production activity, with the increase in division of labor and specialization, with the development of barter economy and trade, the importance of trade routes increased. One of the most important of trade routes is the 'Silk Road'. Today it wants to be revived and carried forward mainly by rail. There are 69 countries and international organizations that started to be mentioned in 2013 under the leadership of China and have signed projects as of today. It is planned to reach 2049. In our study, the amount of imports from China of 12 important countries (Malaysia, Indonesia, Kazakhstan, Pakistan, Iran, India, Turkey, Egypt, Ukraine, Russia, Hungary, Poland) that cooperated in the project between 2000 and 2017 gross domestic product ratios), foreign direct investment from China (ratio of incoming foreign direct investment) and debts to China (ratio to the country's gross domestic product) will be examined. As a result of these examinations, the possible harm and benefits of the Road-Belt project to the world economy will be tried to be determined. Policies to be implemented in the Road-Belt project will be proposed in order for world trade to operate in a win-win manner. Again, what needs to be done for the project to contribute to world peace will be presented as a proposal in connection with the world conjuncture.
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Méndez Landa, Francisco Javier. "ATACAR LA FRONTERA: LA POESÍA COMO POLÍTICA EN LA OBRA DE FRANCIS ALŸS." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10288.

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Desde finales de los años 90’s el artista belga radicado en México, Francis Alÿs (1959) ha extrapolado su labor artística al abandonar el Centro Histórico de la Ciudad de México como su principal laboratorio social, para incidir en diversas regiones del mundo -principalmente territorios de conflicto bélico, socioeconómico, político y migratorio-, en un afán de imaginar realidades distintas a las establecidas por medio de la activación de relatos urbanos, fábulas, moralejas, actividades fútiles y juegos de niños; deviniendo en variadas y aparentemente inocentes metáforas que esconden complejas y poderosas reflexiones sociales. El presente trabajo plantea trazar una acupuntura que sigue algunas acciones de Francis Alÿs fuera del territorio mexicano para construir un imaginario global desde lo poético de su labor: en un mundo gobernado por la desesperanza, y las tensiones generadas por las fronteras de los países, la voz de Alÿs se vuelve un bálsamo necesario que permite visualizar otras soluciones posibles a los conflictos políticos derivados de la independencia y la consecuente autonomía de un determinado territorio. I. En 1997, Alÿs viaja de Tijuana, Baja California, México a San Diego, California, EUA, -ciudades vecinas separadas únicamente por la valla Internacional-; pero el artista lo hace sin cruzar la frontera norte; imaginando una nueva y absurda ruta migratoria que evade la burocracia necesaria para ingresar legalmente a los Estados Unidos; iniciando su viaje en Tijuana, y prosiguiendo por Ciudad de México, Panamá, Santiago de Chile, Auckland, Sydney, Singapore, Bangkok, Rangún, Hong Kong, Shanghái, Seul, Anchorage, Vancouver, Los Ángeles y concluir finalmente en San Diego, California, arribando 35 días después de haber iniciado su travesía. II. En 2005, Alÿs convoca a lancheros voluntarios de Cayo Hueso, Florida, EUA y de La Habana, Cuba, a construir con sus endebles barcas un sólido puente que permita enlazar estas dos naciones sobre el Golfo de México. III. En 2004, Alÿs recorre la ‘Línea verde’, demarcación establecida para promover un alto al fuego entre Israel y Palestina, con una lata de pintura verde agujereada, trazando con su andar una línea verde, que materializa esta división naturalmente imaginaria. IV. En 2008, Alÿs invita a niños de las comunidades pesqueras de Tánger, Marruecos y Tarifa, España a construir una línea humana que permita liberar pequeños barcos de juguete para navegar de norte a sur, y viceversa el Estrecho de Gibraltar. Para Alÿs, la poesía posee una cualidad disruptiva, capaz de hacernos imaginar otros futuros posibles.
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Н.А., Макаров,, Красникова, А.М., and Угулава, Н.Д. "EXCAVATIONS AT GNEZDILOVO BURIAL SITE IN THE VICINITIES OF SUZDAL’: FIRST RESULTS." In Археология Владимиро-Суздальской земли. Crossref, 2021. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-365-7.7-20.

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В статье представлены результаты раскопок могильника X-XII вв. Гнездилово, произведенных в 2020 г. Средневековые памятники в округе Гнездилова хорошо известны в литературе. Здесь в 1851 г. под руководством графа А. С. Уварова раскопано 28 курганов с кремациями и ингумациями, в 1980-1987 гг. под руководством В. А. Лапшина проходили широкомасштабные исследования одного из крупнейших в Суздальской округе поселений с культурными отложениями эпохи викингов. В современном ландшафте, практически полностью снивелированном распашкой, не сохранилось видимых следов курганного могильника, раскопанного в XIX в. Повторное обнаружение некрополя в 2019 г. позволило провести рекогносцировочные работы, в результате которых в раскопе площадью около 120 кв. м выявлено 15 ингумаций XI - начала XII в. в могильных ямах с западной ориентировкой и остатки кремаций, рассредоточенных в пахотном слое и заполнении ям. В 8 погребениях обнаружен сопровождающий инвентарь - стеклянные бусы, височные кольца, подвески, дирхем и денарий, железные ножи. Особый интерес представляет погребение 13 с помещенным в ногах боевым топором. Новые полевые исследования на памятнике демонстрируют, что Гнездилово было большим средневековым кладбищем с разнообразными погребальными обрядами - подкурганными кремациями и ингумациями, грунтовыми погребениями и кремациями, рассыпанными на поверхности или в неглубоких ямах. The paper presents results of the excavations at the Viking Age burial site Gnezdilovo conducted in 2020. Gnezdilovo local area is known in medieval archaeology as a prominent place with the barrow burial ground first discovered in 1851 and the dwelling site with Late Viking Age cultural deposits, one of the local centers of Suzdal’ region, which had been under excavations in 1980-87. Non of the burial mounds survived in the landscape after the excavation campaign of 1851 which disclosed 28 barrows with cremations and inhumations (28) and appeared to leave poor perspectives for further research. Burial site, totally leveled by ploughing, was re-discovered in 2019. Trail excavations at the area of about 120 sq.m revealed 15 west-oriented inhumation burials in ground pits and remains of cremations dispersed in ploughed deposits and in pits. 8 inhumation burials contained grave goods - glass beads, temple rings, pendants, belt mounts, dirham coin and denarius, iron knives. Of special interest is burial 13 with a battleaxe placed at the feet of the deceased. Inhumation burials date the XI-th - the early XII-th cc. New field research at the site prove that Gnezdilovo was a large cemetery with diverse burial rituals (barrows with cremations and inhumations, cremations in shallow ground pits, inhumations in ground pits). Considerable part of the graves remains well preserved after the excavations conducted in the XIX-th c.
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