The Musical Language of Bartók's 14 Bagatelles for Piano

Elliott Antokoletz

6 citations0/0 files storedTempo

No readable copy stored yet — this record is metadata only.

No open-access location is known for this record yet.

Literature note Cite in a project Citation map

Musicology and Musical Analysis Diverse Musicological Studies Literature, Musicology, and Cultural Analysis

Abstract

Bartok's musical language may be approached from two points of view—one, in which the concepts and terminology are derived from folk-music sources, and the other, in which the concepts and analytical tools are derived from certain currents in contemporary music. The present essay is intended to demonstrate, through a study of selected pieces from the 14 Bagatelles for piano, opus 6 (1908), that the assumptions underlying both approaches are essential in understanding the evolution of Bartók's musical language, and that fundamental relationships exist between the diatonic folk modes and various abstract pitch formations commonly found in contemporary compositions.

Paper brief

Loading…

Cite this work

Citation unavailable for this work.

BibTeX RIS CSL-JSON

No public copy is stored for this record, so only the metadata is cited.

Citations in this library

Citation map →

Stored only when both papers are in the corpus — 6 citations exist upstream.

References

1962Serial Composition and Atonality 1976Bela Bartok Essays 1959Re: Harmonic Procedure in the "Fourth Quartet" of Bela Bartok 1978Serial Composition and Atonality

Explore the map →

Papers that cite the same references — the relational fallback while embeddings are still backfilling.

Imported from OpenAlex (CC0) — nothing here is generated.