Description
Book SynopsisTable of ContentsList of Illustrations
Preface
Acknowledgments
I The Musical Language of Bartok: Historical Backgrounds
Folk- and Art-Music Sources
Orientation toward French, Russian, and Folk-Music Sources:
Nonfunctional Bases in Pentatonic, Modal, and Whole-Tone
Constructions
Use of Symmetrical Pitch Collections by Russian, French,
and Hungarian Composers
Russian Nationalists:
Symmetrical Properties of the Dominant-Ninth Chord
Russian Nationalists, Debussy, and Stravinsky:
Symmetrical Properties of Nontraditional as Well as Traditional
(Pentatonic and Modal) Pitch Constructions
Russian Nationalists, Scriabin, and Kodaly:
Symmetrical Partitions of the Octatonic Scale
Late Nineteenth- and Early Twentieth-Century Germanic Influences:
Symmetrical Organization of Chromatically Related Keys
The Schoenberg School:
Symmetrical Formations as the Basis of Progression
in Free-Atonal Compositions
Berg and Webern:
Total Systematization of the Concepts of the Interval Cycle and
Inversional Symmetry in Dodecaphonic Serial Compositions
II Harmonization of Authentic Folk Tunes
III Symmetrical Transformations of the Folk Modes
IV Basic Principles of Symmetrical Pitch Construction
V Construction, Development, and Interaction of lntervallic Cells
VI Tonal Centricity Based on Axes of Symmetry
Including the Concepts of:
Symmetrical Organization around an Axis; Use of Symmetrical
Cells in Establishing Axes; Interaction of Traditional Tonal Centers
and Axes
VII Interaction of Diatonic, Octatonic, and Whole-Tone Formations
VIII Generation of the Interval Cycles
IX Conclusion
Chronological List of Cited Bartok Compositions
Works Cited
Index to Basic Terms, Definitions, and Concepts
Index to Compositions
General Index
