ISBN : 9780199936182
Bela Bartok (1881-1945) was one of the most important composers and musical thinkers of the 20th century. His contributions as a composer, as a performer and as the father of ethnomusicology changed the course of music history and of our contemporary perception of music itself. At the center of Bartok's oeuvre are his string quartets, which are generally acknowledged as some of the most significant pieces of 20th century chamber music. The String Quartets of Bela Bartok brings together innovative new scholarship from 14 internationally recognized music theorists, musicologists, performers, and composers to focus on these remarkable works from a range of theoretical and methodological perspectives. Focusing on a variety of aspects of the string quartets-harmony and tonality, form, rhythm and meter, performance and listening-it considers both the imprint of folk and classical traditions on Bartok's string quartets, and the ways in which they influenced works of the next generation of Hungarian composers. Rich with notated music examples the volume is complemented by an Oxford Web Music companion website offering additional notated as well as recorded examples. The String Quartets of Bela Bartok, reflecting the impact of the composer himself, is an essential resource for scholars and students across a variety of fields from music theory and musicology, to performance practice and ethnomusicology.
Intoduction - Daniel Peter Biro and Harald Krebs
Chapter 1 - Paul Wilson - "Sonata Form in the First Movement of Bartok's Fourth String Quartet"
Chapter 2 - Jonathan Bernard - "Bartok and Traditional Form Description: Some Issues Arising from the Middle and Late String Quartets"
Chapter 3 - Jee Yeon Ryu - "The Structural Role of Formal Contrast in Beethoven's Piano Sonata Op. 101 and Bartok's Third String Quartet"
Chapter 4 - Harald Krebs - "In Beethoven's Footsteps: Metrical Dissonance in Bartok's String Quartets"
Chapter 5 - John Roeder - "Bartok's Grooves: Metrical Processes in the Fourth String Quartet"
Chapter 6 - Daphne Leong - "Between Sound and Structure: Folk Rhythm at the Center of Bartok's Fifth String Quartet"
Chapter 7 - Elliott Antokoletz - "The Romanian 'Long Song' as Structural Convergent Point for the Chiasmal Harmonic Design in Bartok's Fourth String Quartet"
Chapter 8 - William Benjamin - "The Use of Tonal Concepts and their Attendant Modes of Continuity in the Inner Hearing of Bartok's String Quartets"
Chapter 9 - Edward Gollin - "Aggregate Structure and Cyclic Design at the Conclusion of Bartok's Second String Quartet"
Chapter 10 - Charles Morrison - "The Realization(s) of Functional Qualities in Bartok's Second String Quartet"
Chapter 11 - Judit Frigyesi - "How Barbaric is Bartok's forte? - About the Performance of Bartok's Fast Movements for Piano and Strings, with Emphasis on the First Movement of the Fifth String Quartet"
Chapter 12 - Martin Iddon - "Bartok's Relics: Nostalgia in Gyorgy Ligeti's String Quartet No. 2"
Chapter 13 - Daniel Peter Biro - "Bartok's Quartets, Folk Music, and the Anxiety of Influence"
Chapter 14 - Friedemann Sallis - "Recycled Flowers: Quotation, Paraphrase and Allusion in Gyorgy Kurtag's Officium breve in memoriam Andreae Szervanszky Op. 28 for String Quartet"
Epilogue - Daniel Peter Biro and Martin Iddon - "Bartok's Present"