Dissertations / Theses: '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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Kuckertz, Josef. "Transkription bei Bartók." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36808.

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Leafstedt, Carl Stuart. "Inside Bluebeard's castle : music and drama in Béla Bartók's opera /." New York [u.a.] : Oxford University Press, 1999. http://www.loc.gov/catdir/enhancements/fy0605/98040668-d.html.

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Evick, Jason Wesley. "Chamber symphony no.1(Evick)/symmetrical and structural features in Sonata no.2, mvt.1, violin and piano(Béla Bartók) /." Connect to resource online, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1229115279.

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Usarek, Alicja Irena. "The genesis and fate of Béla Bartók's 1907 violin concerto." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004203.

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Chung, Eui Young. "Bartók's sonata no. 2 for violin and piano : structural functions of polymodal combination /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983122.

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Walsh, Fiona. "Bartók's altered endings : contexts, case studies, and constructs /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16330.pdf.

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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." connect to online resource, 2004. http://www.unt.edu/theses/open/20041/ujj-hilliard%5Femoke/index.htm.

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Susanni, Paolo. "The musical language and formal structure of Bartók's Sonata for piano (1926)." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023562.

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Wetzel, Minor Lewis. "A better Bartók dilemmas and solutions in performing Bartók's Viola concerto /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2026890361&sid=5&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Morrison, Charles Douglas. "Interactions of conventional and nonconventional tonal determinants in the string quartets of Béla Bartók." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27460.

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Although there exists substantial literature on Béla Bartók's music, few sources address his tonal language in a penetrating, analytical way. Analyses often lack precision in demonstrating adaptations of conventional principles of tonal orientation in the often nontraditional contexts of Bartók's music, and are generally inconclusive in explaining the particulars of interaction between conventional and nonconventional tonal determinants. The present study seeks to demonstrate adaptations and interactions of specific conventional and nonconventional tonal determinants, taking these shortcomings into account. In Chapter I, a brief but critical survey of approaches to tonality in Bartók is followed by a redefinition of tonality, which embodies both conventional and nonconventional determinants of centric orientation, many of the latter being analogues of the former. Progression and prolongation are cited as two fundamental processes by which tonal orientation is effected. Because Bartók's string quartets span his compositional career, reflecting global changes in his musical language, they are particularly convenient for study. Chapter II introduces four categories of progression relevant to Bartók's quartets: conventionally functional progressions, nonconventional tonicizing progressions, fifth progressions, and linear progressions. Each is further subdivided, with discussion of the theoretical principles of classification, examination of the existing literature where relevant, and illustration of the element of' progression in question, usually by excerpt from the quartets. Chapter III takes Heinrich Schenker's theory of prolongation as a departure point for the study of nonconventional but analogous procedures in Bartók's quartets. Prolongation over foreground, mid-level, and large-scale spans is studied, and subcategories of mid-level prolongation in particular are discussed in relation to commentary by Wallace Berry, Craig Ayrey, and Arnold Whittall on this vital but problematic concept. Each prolongational determinant is exemplified in passages from the quartets. The focus of Chapter IV is the final movement of Bartók's sixth quartet, the analysis of which illuminates details of interaction between conventional and nonconventional tonal determinants—such interaction being crucial in understanding Bartók's tonality as a unified system of functionally interrelated principles of centric orientation and structural coherence. Chapter V summarizes the findings of the analysis in Chapters II-IV.
Arts, Faculty of
Music, School of
Graduate

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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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Lynch, John James. "A study of the methods of composition and transcription developed in Bartok's First Rhapsody for violin and piano (1928) with regard to its recent transcription for viola and piano /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17281.pdf.

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Cahn, Peter. "Phonographische Aufzeichnungen in Bartóks Niederschrift." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36809.

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Somfai, László. "Written and Performed Form in Bartók's Piano Works of 1915-1920." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36810.

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Falqueiro, Allan Medeiros. "Síntese do leste e oeste: uma análise dos eixos simétricos no terceiro quarteto de cordas de Béla Bartók." Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1520.

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Made available in DSpace on 2016-12-08T17:06:41Z (GMT). No. of bitstreams: 1 Allan.pdf: 6015471 bytes, checksum: c9502b248f8def57196d096754d4ef5e (MD5) Previous issue date: 2012-02-27
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation is an analytical study of Béla Bartók s String Quartet nº 3, looking for axes of symmetry that works as pitch organizers. This research is bounded with the Eastern Europe s traditional music done by Bártok, an essential influence to the creation of the composer s musical language. So on, this work begins with a research about the motivations that led Bartók to the peasant music, focusing on the information given by him. This lead to the analysis of folk songs collected by Bartók and his contemporary researchers used as examples by him on his papers, resulting in the finding of tunes composed around an axis of symmetry. In equal measure, such symmetrical formations are found in pieces from others modern composers, mainly those who sought to oppose tonality on their works. It was used musical examples from Stravinsky, Mussorgsky, Berg and Webern, together with others Bartók s works. Although the theory about inversional symmetry is not too recent, with origin on the second part of XX century, most of the analyses are created through methods created by the analyst himself. So, this work directs to a methodological option for the of analysis axes of symmetry, generated with the collecting of used elements from several authors. This work contributes too with the expansion of the axes of symmetry theory by bringing it to the structural level, so that the axes could be symmetrically related to each other. Several symmetrical axés were found on the analysis of Bartók s Third Quartet, a piece considered among his most abstracts works. On this context, the axes of symmetry provide a kind of synthesis of folk music and modern music, that can represent East and West on music
Esta dissertação contém um estudo analítico do Quarteto de Cordas nº 3 de Bela Bartók, a fim de encontrar eixos simétricos que atuam como organizadores das alturas. Tal busca está conectada com o estudo da música tradicional do Leste Europeu efetuado por Bartók, influência essencial para a formulação da linguagem musical do compositor. Para tanto, o trabalho é iniciado por uma pesquisa das motivações que conduziram Bartók à música dos camponeses, dando privilégio às informações dadas pelo próprio autor. Esta pesquisa conduziu à análise de canções coletadas por Bartók ou pesquisadores a ele contemporâneos presentes nos exemplos de canções folclóricas em seu legado escrito, resultando na descoberta de melodias compostas em torno de um eixo de simetria. Na mesma medida, tais organizações simétricas são igualmente encontradas em peças de compositores modernos, principalmente daqueles que procuravam distanciamento da tonalidade em suas obras. Para tanto, foram utilizados pequenos trechos de Stravinsky, Mussorgsky, Berg e Webern, juntamente com excertos de outras obras de Bartók. Apesar de que a teoria a respeito da simetria inversional não seja muito recente, tendo sua origem na segunda metade do século XX, as análises partem de metodologias criadas pelo próprio analista. Assim, este trabalho apresenta uma opção metodológica para a busca de eixos simétricos, formada a partir do agrupamento de elementos utilizados anteriormente por diversos autores. Este trabalho contribui também com a expansão da teoria da simetria inversional para o nível estrutural, de forma com que os eixos também podem se relacionar simetricamente entre si. Diversos eixos simétricos foram encontrados durante a análise do Terceiro Quarteto de Bartók, uma obra considerada entre as mais abstratas do compositor. Neste contexto, os eixos simétricos se constituem como uma síntese da música folclórica com a música moderna, representações do Leste e Oeste na música

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Gallot, Simon Penesco Anne. "György Ligeti." Lyon : Université Lumière Lyon 2, 2005. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2005/gallot_s.

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Tsu, Ming. "A guide to contemporary piano repertoire for the developing student : interpretive suggestions for selected works by Robert Starer and Seymour Bernstein /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11201.

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Jain, Sarika [Verfasser], Harald Gutachter] Saumweber, Wolfgang [Gutachter] Uckert, and Ralf C. [Gutachter] [Bargou. "Role and regulation of the heat shock proteins Hsp90 alpha and beta in Multiple Myeloma / Sarika Jain ; Gutachter: Harald Saumweber, Wolfgang Uckert, Ralf C. Bargou." Berlin : Humboldt-Universität zu Berlin, 2008. http://nbn-resolving.de/urn:nbn:de:kobv:11-100214338.

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Jain, Sarika [Verfasser], Harald [Gutachter] Saumweber, Wolfgang [Gutachter] Uckert, and Ralf C. [Gutachter] Bargou. "Role and regulation of the heat shock proteins Hsp90 alpha and beta in Multiple Myeloma / Sarika Jain ; Gutachter: Harald Saumweber, Wolfgang Uckert, Ralf C. Bargou." Berlin : Humboldt-Universität zu Berlin, 2008. http://d-nb.info/1208076264/34.

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Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.

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The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by considering the contextual historical implications of the octatonic pitch set; the historic lineage of octatonic usage; and, significantly, with the goal of extracting specific compositional devices from the works of various composers that come from a variety of stylistic, historical, and harmonic perspectives. These compositional devices are learnable methods, or conventions that a composer can modify, build upon or implement into their own work. The contextual historical information, along with the description of the characteristics of the octatonic pitch set and, especially, the compositional devices are all intended to be both a single pedagogical resource and starting point for composers in relation to developing new octatonic compositional techniques and a holistic theoretical overview of octatonicism. The evidence, retrieved from third party analysis of select composers’ octatonic works, finds learnable compositional devices from broad stylistic backgrounds that can be reinterpreted and expanded into individualised compositional methods.

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Colwell, John. "Actuality and provisionality : a study of the relationship between the concept of eternity and the doctrine of election in the theology of Karl Barth." Thesis, King's College London (University of London), 1985. https://kclpure.kcl.ac.uk/portal/en/theses/actuality-and-provisionality--a-study-of-the-relationship-between-the-concept-of-eternity-and-the-doctrine-of-election-in-the-theology-of-karl-barth(ae0eeb7a-1b76-4cf1-beaa-49835128e559).html.

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Mattiolli, Isadora Buzo. "O corpo como questão : relações entre feminismos e arte contemporânea no Brasil." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/180777.

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Este trabalho investiga a produção em fotografia e vídeo de artistas que utilizaram o próprio corpo como objeto de representação nos anos 1970, sob um viés de análise feminista e de gênero. O objetivo principal foi o de destacar se houve ou não a influência do movimento feminista de segunda onda na obra de artistas brasileiras. As artistas Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater e Sonia Andrade fazem parte do meu escopo de estudos de caso. O desenvolvimento do trabalho foi fundamentado em entrevistas inéditas com as artistas pesquisadas e a apreciação de suas obras que atendem ao recorte escolhido. A partir da criação de três categorias baseadas no conteúdo dos trabalhos artísticos, foram definidos os seguintes temas: a esfera do privado em oposição à pública, a construção ficcional de si e a estética da violência. Cada um desses núcleos temáticos orientam os três capítulos que constituem a dissertação: “O corpo é a casa”, “O corpo é a camuflagem” e “O corpo é a fissura”, respectivamente. No primeiro capítulo, apresento obras que expõem questões relativas ao espaço doméstico e às funções gendradas vivenciadas por mulheres, por meio da interlocução teórica de Hannah Arendt e Jayne Wark. No segundo, aponto obras que se relacionam com a ideia de identidade fragmentada com base em construções ficcionais de si. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira e Janet Wolff foram as contribuições teóricas mais significativas do capítulo. Por fim, no terceiro, abordo obras produzidas no contexto da ditadura militar no Brasil, que confrontam as violências do período decorrente de censuras, torturas e cerceamento das liberdades individuais e coletivas, baseando-me em três autores que se dedicaram sobre o período: Artur Freitas, Claudia Calirman e Margareth Rago. Com o suporte metodológico de uma análise de conteúdo das entrevistas e o parecer teórico-crítico das obras, foi possível inferir que o discurso das artistas sobre os seus trabalhos não possui intenções feministas na maioria das vezes. Todavia, as ideias presentes nos seus trabalhos em fotografia e vídeo indicam preocupações comuns ao feminismo daquele período. A contradição entre o discurso e a prática foi a pergunta que guiou o processo de escrita do trabalho.
This work investigates the photography and video production of artists who used their own body as an object of representation in the 1970s, under a bias of feminist and gender analysis. The main objective was to highlight the possible influence of the second wave feminist movement on the work of brazilian artists. The artists Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater and Sonia Andrade are part of my scope of case studies. The development of the work was based on unpublished interviews with the artists researched and the appreciation of their work that meet the chosen cut. From the creation of three categories based on the content of artistic work, the following themes were defined: the private sphere as opposed to the public, the fictional construction of self, and the aesthetics of violence. Each of these thematic nuclei guide the three chapters that constitute the dissertation: "The body is the house", "The body is the camouflage" and "The body is the fissure", respectively. In the first chapter, I present works that expose questions regarding the domestic space and the gendered functions experienced by women, through the theoretical interlocution of Hannah Arendt and Jayne Wark. In the second, I point to works that relate to the idea of fragmented identity based on fictional constructions of self that artists have developed for photography and video. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira and Janet Wolff were the most significant theoretical contributions of the chapter. Lastly, in the third, I approach works produced in the context of the military dictatorship in Brazil, which confront the violence of the period resulting from censorship, torture and restriction of individual and collective freedoms, based on three authors who dedicated themselves on the period: Artur Freitas, Claudia Calirman and Margareth Rago. With the methodological support of a content analysis of the interviews and the theoretical-critical opinion of the works, it was possible to infer that the discourse of the artists about their works does not have feminist intentions in the majority of the times. However, the ideas present in their work in photography and video indicate concerns common to feminism during that period. The contradiction between discourse and practice was the question that guided the writing process of the work.

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Vasconcellos, Juliano Caldas de. "Concreto armado Arquitetura Moderna Escola Carioca : levantamentos e notas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/114673.

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O presente trabalho tem como objetivo a análise de obras da arquitetura moderna brasileira de base carioca, construídas em concreto armado no período compreendido entre 1935 e 1960. É inegável que a construção teve destaque entre os vários componentes que levaram a arquitetura moderna brasileira ao reconhecimento internacional. Dentro do período citado, o Brasil figurou como líder do universo da arquitetura moderna, onde a exploração da plasticidade potencial do concreto armado foi aplicada com grande êxito. As soluções adotadas pelos arquitetos brasileiros tiveram grande repercussão, a começar pelo edifício da Associação Brasileira de Imprensa dos Irmão Roberto da sede do Ministério da Educação e Saúde Pública (hoje conhecido como Palácio Gustavo Capanema) que deixaram perplexos arquitetos do mundo inteiro. Marcos da nova arquitetura no país, estes exemplares foram objeto de inovações expressivas e bem-sucedidas também no seu projeto estrutural. Para se fazer a análise das construções brasileiras, é importante estudar as origens do concreto armado e suas aplicações desde o seu surgimento, passando pela descrição de patentes registradas (ou apenas estudadas) na Europa e Estados Unidos, sem esquecer de precisar nomes e datas, fundamentais para substanciar a reivindicação de influências e precedências. Em um segundo momento, estuda-se a chegada do concreto armado no Brasil, e as obras iniciais, além de registrar as primeiras construtoras e a elaboração das primeiras normas. Nos anos 30 o concreto armado é agente da verticalização e da indústria da construção civil, domínio este comprovado através de dados técnicos e sócio-econômicos. A última parte está dedicada para a análise das obras, onde Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto e Oscar Niemeyer são os autores dos projetos. Analisados sob o aspecto de sua concepção estrutural e construtiva, os exemplares são divididos em categorias e dentro destas ordenados por cronologia de projeto e execução, onde são apresentados além do texto escrito, ilustrações das obras em andamento, finalizadas e desenhos originais e/ou elaborados por este autor, através de levantamento ou pesquisa.
The purpose of this essay is the analysis of works of the Brazihan modem architecture with carioca base, built in reinforced concrete in the period between 1935 and 1960. It is undeniable that the construction had prominence among the several components that took the Brazihan modem architecture to the international recognition. Inside of the mentioned period, Brazil represented as leader of the universe of the modem architecture, where the exploration of the potential plasticity of the reinforced concrete was applied with great success. The solutions adopted by the Brazihan architects they had great repercussion, to begin for the building of the Brazilian Association of Press of the MMM Roberto of the headquarters of Ministry of Education and Pubhc Health (known as Palácio Gustavo Capanema) that left perplexed architects of the whole world. Signal of the new architecture in the country, these copies were object of expressive and successful innovations in your structural project. To do the analysis of the Brazilian constructions, it is important to study the origins of the reinforced concrete and your applications from your appearance, going by the description of registered patents (or just studied) in Europe and United States, without forgetting of needing names and dates, fundamental to nourish the revindication of influences and precedences. In a second moment, it is studied the arrival of the reinforced concrete in Brazil, and the initial works, besides registering the first builders and the elaboration of the first norms. In the thirties the armed concrete is agent of the verticalization and of the industry of the building site, domain this proven through data technicians and socioeconomic. The last part is dedicated for the analysis of the works, where Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto and Oscar Niemeyer are the authors of the projects. Analyzed under the aspect of your structural and constructive conception, the copies are divided in categories and inside of these ordered by project chronology and execution, where they are presented besides the written text, illustrations of the works in process, concluded and drawings original or elaborated by this author, through rising or researches.

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Hsu, Kai-Min, and 許凱閔. "Bela Bartok: Piano Sonata." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/d2eq2p.

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Huang, Meng-Han, and 黃孟涵. "An Analysis and Study of Bela Bartok Roumanian Folk Dances, Sz. 56." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/7evn2m.

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Lin, Yi-Hsiu, and 林宜秀. "The Analysis and Interpretation of Piano Sonata Sz.80 by Bela Bartok." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/ck77z8.

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碩士
國立臺北藝術大學
音樂系碩士在職專班音樂專業師資教育組
101
Bela Bartok (1881-1945) is a Hungarian composer, pianist, musician and musicologist and is also a composer with the most original and personal style in the twentieth century’s modernism. Romanticism in music drew to an end at the end of Nineteenth century, and musical styles in terms of the collapse of tonality emerged; French Impressionism, Nationalism in Music, Schoenberg’s twelve-tone system and neo-classicalism were created. Offspring scholars categorized Bartok into post-tonality, Nationalism and neo-classicalism. However, whatever music schools, Bartok actually created a new road for himself - folk music. He collected and researched thousands of folk music all his life, including Hungary, Romania, Transylvania, and even North Africa. Broad perspective makes Bartok’s works filled with originality and the spirit of brotherhood and takes a place in music history. It is of great significance to study Bartok’s piano music for contacting and understanding the music in the twentieth century. With the background of the era Bartok lived in, this paper explores the impact of diverse music in the twentieth century on Bartok, furthermore to understand Bartok’s life and musical style evolution and finally analyzes and interprets Bartok’s “Piano Sonata” Sz. 80 so as to learn the style of the unique music composer.

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HUNG, WAN CHI, and 洪婉綺. "An Analysis and Interpretation of Bela Bartok’s Viola Concerto (Peter Bartok Edition)." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/91061247751485429339.

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碩士
輔仁大學
音樂學系
105
Bela Bartok (1881-1945) is recognized as one of the most significant and prominent Hungarian composers of the 20th century. Greatly influenced by Franz Liszt (1811-1886) and Johannes Brahms (1833-1897), his early works were of late-romantic style. During his middle years, he enormously dedicated to the collection of folk music. Afterwards, folk music elements were incorporated into many of his works during his late age . Here, the compositions produced in his late period are discussed. Bartok's Viola Concerto was produced by the commission from violaist William Primrose(1903-1982). It was originally conceived of four movements: a serious Allegro, a scherzo, a rather short slow movement, and a finale Allegretto, where later on the tempo developed into an Allegro Molto. The time lengths of each movement were noted on his rough draft. After his decease, Tibor Serly (1901-1978), a friend of his, was requested to decipher the piano draft. He then rewrote it into an orchestral musical score in 1949, which was the subsequent well-recognized Bartok Viola Concerto. Nevertheless, people had noticed that the orchestral version is slightly different from that of the original rough draft. This issue were under debate until 1995, when Bartok's son, Peter Bartok, reviewed his father's drafts and musical scores. To get closer to the author's original intention, Peter revised the former version into the current one. This article also discusses the comparison of each version. The first of five chapters in this research is an introduction that addresses the research motives and intentions, methodology and scope of research. Chapter two discussions of biography of Bartok . Chapter three specifies the background and the style of this piece. Chapter four is the analysis and interpretation of the selection of this “Viola Concerto”. Chapter five discusses the comparison of each version of Viola Concerto. Chapter six concludes the author’s comments and concluding remarks.

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Abrams, Douglas R. "A Geometrical Approach to Two-Voice Transformations in the Music of Bela Bartok." 2014. https://scholarworks.umass.edu/masters_theses_2/1.

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A new analytical tool called “voice-leading class” is introduced that can quantify on an angular scale any transformation mapping one pitch dyad onto another. This method (based on a concept put forth by Dmitri Tymoczko) can be applied to two-voice, first-species counterpoint or to single-voice motivic transformations. The music of Béla Bartók is used to demonstrate the metric because of his frequent use of inversional symmetry, which is important if the full range of the metric’s values is to be tested. Voice-leading class (VLC) analysis applied to first-species counterpoint reveals highly structured VLC frequency histograms in certain works. It also reveals pairs of VLC values corresponding to motion in opposite directions along lines passing through the origin in pitch space. VLC analysis of motivic transformations, on the other hand, provides an efficient way of characterizing the phenomenon of chromatic compression and diatonic expansion. A hybrid methodology is demonstrated using Segall’s gravitational balance method that provides one way of analyzing textures with more than two voices. A second way is demonstrated using a passage from Bartók’s Concerto for Orchestra. Finally, the third movement of the String Quartet #5 is analyzed. Families of geometrically related VLC values are identified, and two are found to be particularly salient because of their relationship to major and minor thirds, intervals which play an important role in the movement. VLC values in this movement are linked to contour, form, motivic structure, pitch-class sets and pitch centricity, and are thus demonstrated to be useful for understanding Bartók’s music and the music of other composers as well.

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Tsai, Ming-E., and 蔡明娥. "Persistence and Compromise in Music Creation：Romanian Folk Dances Composed by Bela Bartok and Inspired by Transylvanian Tradition." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/c8786z.

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碩士
國立臺北藝術大學
音樂系碩士在職專班音樂學組
99
Abstract Bela Bartok was a Hungarian composer, pianist and ethnomusicologist who took interest in and devoted himself to the study of folk music.He was a versatile, prolific musicologist whose numerous works were created by adapting some original pieces into versions of orchestral music and dance music in the form of a suite. Romanian Folk Dances, composed in 1915, was one of his great piano pieces based on seven Romanian tunes from Transylvania.Two years later, i.e. in 1917, it was rearranged into an orchestral ensemble. The motivation behind the adaptation, whether it was for the needs of the performers or simply as a result of creative introspection and reflection, is the first question we will deal with in this paper. Our second purpose is to find out more about the string orchestra peculiar to Transylvania, especially the acoustic features displayed by the three-stringed viola, when played to provide the musical accompaniment with chords.Transylvania was the birthplace of both Bela Bartok and Romanian Folk Dances. To realize how he grasped the very essence of Transylvania’s small ensemble and its musical language while orchestrating the suite, we will examine its six short piano pieces one by one, with our attention focused mainly on three aspects, namely Instrumentation,tempo, and heterophony. It is hoped that our detailed investigation can lead us to a significant discovery about how he admitted both traditional and modern elements into his musical creation, that is, how he tried to keep a balance between persistence and compromise. Key words： Transylvania、accoustic、string orchestra、Romanian Folk Dances

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Lin, Wan-Ging, and 林婉菁. "Investigate the etudes of Bela Bartok《Etudes Op.18, 3 pieces》using writing skill and technical manipulation." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/46502156048092641900.

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碩士
東吳大學
音樂學系
91
The mainly purposes of this investigation were analyzing the performing style of Bartok''s etudes and discussing the perform problems those virtuoso may confront. The technical problems in these three etudes were solbed by studying the bibliography, looking for the comments of specialists and personal practiced experience. The points of Golden Sectionand Fibonacci Series were also quoted in this dissertation to evidence the phenomena whether do exist in these etudes.Furthermore,the performance problems were also discussed according to the writing skill. Writing skill and performance problems were the primarily issues on Bartok''s etudes after having made a comprehensive survey： 1.The Peasant songs remains a reflection on the representation of tempo profoundly,the characteristics of the Parlandorubato and the Tempo giusto which was formed as popular style in East Europe songs particularly were imaged in etudes. 2.Comparing with the former etudes of Bela Bartok,the performance skills changed slightly.In the main while,Bartok piloted the same performance skills to the infinitely challenge. 3.The musical notes were built on the Harmony which was different from the traditionalstyle.Hence,the performers had to overcome the period of accommodation which came from the new chord. 4.However,this is not a popular etude domestically and the performers got few idea on it. The performers could not grasp the structure of the etude and skills immediately when they contacted it initially,it causes the performers afraid to practice this etude.

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Bowen, Nellie. "Stylistic principles in three chamber works by Bela Bartok with particular reference to the role of the piano." Thesis, 1990. http://hdl.handle.net/10413/8917.

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The thesis discusses the following three works composed by Bartok between 1922 and 1938 : Sonata no. 2 for Violin and Piano, Rhapsody no. 1 for Violin and Piano and "Contrasts" for Violin, Clarinet and Piano. Details relating to Bartok's compositional style in the three chamber works are investigated, with particular reference to the role of the piano. The piano writing is not innovative, but the traditional boundaries are extended by means of the melodic idiom, harmonies and rhythms. The thesis considers traceable musical influences viz. folk music and the influence of other composers; form and the tonal-contrapuntal fabric, rhythm and meter, and performance considerations. The value of Bartok's own recordings is addressed with regard to a critical evaluation of Bartok's own interpretation, the importance of the precisely notated scores, the controversial Bartok tempi, the application of rubato and broken chord figurations and Bartok's views on pedalling, articulation and ornamentation. Examples of all the above-mentioned aspects are traced in the three works concerned, and the pianistic style and dynamics and the interaction between the piano and the other instruments are discussed. The three works are compared and Bartok's development as composer of chamber music is traced through this comparison. The existence of Bartok's own interpretation of the Sonata, Rhapsody and "Contrasts", is of particular value to the study and serves as a main point of reference regarding the performance aspect. Using these recordings as a basis, the thesis considers the works from a pianist's point of view and insights are offered into possible problematic areas in performance, in relation to the piano part as well as the ensemble. The knowledge acquired through the preceding analysis of the works assists in a better understanding of the works and ensures an ultimately more successful performance.
Thesis (M.Mus.)-University of Natal, Durban, 1990.

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Radke, Melanie. "Folk influences in concert repertoire for the violin: a performer’s perspective." 2007. http://hdl.handle.net/2440/41349.

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The submission focuses on the performance of violin works that incorporate elements of folk music. It investigates some of the ways in which traditional folk melodies are utilised in violin repertoire and considers the implications for performance. It recognises that when performing music inspired by folk idioms the classical violinist often needs to adopt a different set of technical and musical objectives relevant to the cultural origin of the work. The submission takes the form of two CD recordings with a supporting exegesis. The exegesis discusses those aspects of the performances that stem from the cultural traditions to which the repertoire is related. Due to the broad nature of this topic my investigation was confined to selected works that stemmed from English and Hungarian traditional music. The exegesis examines the relevance of the research and the application of these discoveries in performance. The main focus is the incorporation of traditional Hungarian characteristics in the performance of Bartók’s Rhapsody No 2 for Violin and Piano, and Kodály’s Duo for Violin and Violoncello, Op 7. Discussion then moves to Vaughan Williams’s The Lark Ascending and the differences required to recreate the sound of the traditional English fiddler.
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2007

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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.

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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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Asbell, Stephanie Ames. "Béla Bartók's Viola concerto : a detailed analysis and discussion of published versions." Thesis, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008240.

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Hooker, Lynn Marie. "Modernism meets nationalism : Béla Bartók and the musical life of Pre-World War I Hungary /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3029496.

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Oubre, Larry Allen. "The "new Hungarian art music" of Béla Bartók and its relation to certain Fibonacci series and golden section structures." Thesis, 2006. http://hdl.handle.net/2152/2598.

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Lee, Yu-Young. "Béla Bartók's Eight Hungarian folk songs for voice and piano: vocal style as elaborated by harmonic, melodic, and text factors." Thesis, 2006. http://hdl.handle.net/2152/2807.

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Dissertations / Theses on the topic 'Bela Bartok'

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