The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartók's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.
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"An outstanding contribution to Bartk scholarship, the most perceptive and sophisticated study of Bartk's work yet published and one that raises the analysis of this music to an entirely new level." -- Douglas Jarman, Music and Letters
"Recommended to all with a concern and enthusiasm for twentieth- century music. . . . The author is to be commended for a thoughtful and rigorous effort that will serve as a useful guide for many years to come." -- Pieter C. van den Toorn, Music Theory Spectrum
"Recommended to all with a concern and enthusiasm for twentieth- century music. . . . The author is to be commended for a thoughtful and rigorous effort that will serve as a useful guide for many years to come." -- Pieter C. van den Toorn, Music Theory Spectrum
About the Author
Elliott Antokoletz is Professor of Musicology at the University of Texas, Austin. In 1981 he received the Béla Bartók Memorial Plaque and Diploma from the Hungarian government.
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1 of 12 people found the following review helpful:
5.0 out of 5 stars
Bartok = The Man,
This review is from: The Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music (Paperback)
This book is incredibly in-depth, often so in-depth that I had to take breaks and listen to his music and remember the days when I listened to Bartok in total bliss.
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