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An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for Two Pianos and Percussion by Bela Bartok.

Record Type:	Electronic resources : Monograph/item
Title/Author:	An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for Two Pianos and Percussion by Bela Bartok./
Author:	Ujj-Hilliard, Emoke.
Description:	1 online resource (198 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 66-05, Section: A.
Contained By:	Dissertations Abstracts International66-05A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3126590click for full text (PQDT)
ISBN:	9780496738700

An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for Two Pianos and Percussion by Bela Bartok.
Ujj-Hilliard, Emoke.

An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for Two Pianos and Percussion by Bela Bartok. - 1 online resource (198 pages)

Source: Dissertations Abstracts International, Volume: 66-05, Section: A.

Thesis (D.M.A.)--University of North Texas, 2004.

Includes bibliographical references

This dissertation presents evidence that Bela Bartok created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartok utilized typically "Bartokian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion . We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartok's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained-preparing the players mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780496738700Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Bartok, BelaIndex Terms--Genre/Form:

542853
Electronic books.

An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for Two Pianos and Percussion by Bela Bartok.
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500 $a Advisor: Paul, Pamela Mia.
502 $a Thesis (D.M.A.)--University of North Texas, 2004.
504 $a Includes bibliographical references
520 $a This dissertation presents evidence that Bela Bartok created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartok utilized typically "Bartokian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion . We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartok's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained-preparing the players mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.
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