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The music of Béla Bartók

Autor: Paul Wilson
Editora: New Haven : Yale University Press, ©1992.
Séries: Composers of the twentieth century.
Edição/Formato   Print book : InglêsVer todas as edições e formatos
Base de Dados:WorldCat
Resumo:
In this book, Paul Wilson presents a new theoretical and analytical approach to the music of Bela Bartok, Hungary's most famous composer and a key figure in twentieth-century music. Wilson explains his theory and then applies it to five important pieces: the Sonata for Piano, the Third Quartet, and movements from the Fifth Quartet, the Sonata for Two Pianos and Percussion, and the Concerto for Orchestra. According
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Detalhes

Gênero/Forma: Criticism, interpretation, etc
Pessoa Denominada: Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók; Béla Bartók
Tipo de Material: Recurso Internet
Tipo de Documento: Livro, Recurso Internet
Todos os Autores / Contribuintes: Paul Wilson
ISBN: 0300051115 9780300051117
Número OCLC: 24544088
Descrição: ix, 222 pages : illustrations ; 25 cm.
Conteúdos: Introduction: First Steps Toward a Theory --
1. Theory. 1. Fundamentals: Source Sets, Harmonic Function, Privileged Pattern, and Context. 2. A Model of Hierarchical Structure --
2. Analyses. 3. The Sonata for Piano. 4. The Third String Quartet. 5. The Fifth String Quartet, II and IV. 6. The Sonata for Two Pianos and Percussion, I and II. 7. The Concerto for Orchestra, I --
Appendix: Erno Lendvai and the Axis System.
Título da Série: Composers of the twentieth century.
Responsabilidade: Paul Wilson.

Resumo:

In this book, Paul Wilson presents a new theoretical and analytical approach to the music of Bela Bartok, Hungary's most famous composer and a key figure in twentieth-century music. Wilson explains his theory and then applies it to five important pieces: the Sonata for Piano, the Third Quartet, and movements from the Fifth Quartet, the Sonata for Two Pianos and Percussion, and the Concerto for Orchestra. According to Wilson, earlier critics of Bartok's music have often.

Sought to discover an unvarying precompositional system that accounted for individual musical events. Wilson's approach is different in that he develops a way to explore each work within the musical contexts that the work itself creates and sustains. Wilson begins by discussing a number of fundamental musical materials that Bartok employed throughout his oeuvre. Using these materials as foundations, he then describes a series of flexible, behaviorally defined harmonic.

Functions and a model of pitch hierarchy based on the functions and on several connective designs. Wilson shows how these hierarchical structures provide meaningful forces for coherence and for dynamism and progressional drive in the music. After analyzing the five works from Bartok's oeuvre, he concludes by explaining the philosophical similarities between his theory and the work of David Lewin and Charles Taylor in the related fields of perception and hermeneutics.

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