The Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music

Paul W. Wilson · Elliott Antokoletz

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Abstract

The basic principles of progression and the means by which tonality is established in Bartok's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartok's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.

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1995A Myth of the Twentieth Century: The Rite of Spring, the Tradition of the New, and "The Music Itself"2007Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók 2004Twentieth-Century Chamber Music 1986Interval Cycles in Stravinsky's Early Ballets 1988Inversional Symmetry and Transpositional Combination in Bartók 2003Cyclic Patterns in John Coltrane's Melodic Vocabulary as Influenced by Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns: An Analysis of Selected Improvisations 2015Bartók's Polymodality 2003Zones of Impingement: Two Movements from Bartók's Music for Strings, Percussion, and Celesta

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