Zones of Impingement: Two Movements from Bartók's Music for Strings, Percussion, and Celesta

Abstract

The first and third movements of Béla Bartóks Music for Strings, Percussion, and Celesta (1936) are subjected to a pitch-based (here strictly distinguished from pc-based) analysis, with the idea of defining ways, here called zones of impingement, in which pc-based observations may be incorporated into such an analysis without invoking the generalizing power that pitch class is usually thought to have over pitch.

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