Bartók perspectives : man, composer, and ethnomusicologist

Abstract

1: Elliott Antokoletz: Perspectives in Bartok Research Part I. Career and Work as Folklorist 2: Benjamin Suchoff: Bartok's Odyssey in Slovak Folk Music 3: Stephen Erdely: Bartok on Southslavic Epic Songs Part II. Analytical and Theoretical Studies 4: Malcolm Gillies: Analyzing Bartok's Works of 1918-1922: Motives, Tone Patches, and Tonal Mosaics 5: Elliott Antokoletz: Modal Transformation and Musical Symbolism in Bartok's Cantata Profana 6: Elliott Antokoletz: Organic Expression and Classical Structure in Bartok's Sonata for Two Pianos and Percussion 7: John K. Novak: The Benefits of Relaxation: The Role of the Pihenoe Movement in Bela Bartok's Contrasts Part III. Sytle and Aesthetics 8: Benjamin Suchoff: The Genesis of Bartok's Musical Language 9: Dorothy Lamb Crawford: Love and Anguish: Bartok's Expressionism 10: Judit Frigyesi: The Verbunkos and Bartok's Modern Style: The Case of Duke Bluebeard's Castle 11: James Porter: Bartok's Concerto for Orchestra (1943) and Janacek's Sinfonietta (1926): Conceptual and Motivic Parallels Part IV. Folk Music Influences 12: Janos Karpati: Bartok in North Africa: A Unique Fieldwork and Its Impact on His Music 13: David Yeomans: Background and Analysis of Bartok's Romanian Christmas Carols for Piano (1915) 14: Timothy Rice: Bela Bartok and Bulgarian Rhythm Part V. Compositional Process 15: Laszlo Somfai: Bartok's Notations in Composition and Transcription 16: Carl S. Leafstedt: Pelleas Revealed: The Original Ending of Bartok's Opera, Duke Bluebeard's Castle 17: Peter Bartok: Correcting Printed Editions of Bela Bartok's Viola Concerto and Other Compositions 18: Nelson Dellamaggiore: Deciphering Bela Bartok's Viola Concerto Sketch Part VI. Orientation Toward Pedagogy 19: Victoria Fischer: Bartok's Fourteen Bagatelles op. 6, for Piano: Toward Performance Authenticity Part VII. Reception History 20: Malcolm Gillies: The Canonization of Bela Bartok Chronological List of Cited Bartok Compositions

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