BARTÓK PERSPECTIVES MAN, COMPOSER, & ETHNOMUSICOLOGIST

GEN 205. 121

  • ANTOKOLETZ E., Perspectives in Bartók Research, pp. 3-11

 

  • SUCHOFF B., Bartók’s Odyssey in Slovak Folk Music, pp. 15-27

 

  • ERDELY S., Bartók on Southslavic Epic Songs, pp. 28-40

 

  • GILLIES M., Analyzing Bartók’s Works of 1918-1922, pp. 43-60

 

  • ANTOKOLETZ E., Modal Transformation and Musical Symbolism in Bartók’s Cantata Profana, pp. 61-76

 

  • ANTOKOLETZ E., Organic Expansion and Classical Structure in Bartók’s Sonata for Two Pianos and Percussion, pp. 77-94

 

  • NOVAK J. K., The Benefits of “Relaxation”, pp. 95-109

 

  • SUCHOFF B., The Genesis of Bartók’s Musical Language, pp. 113-128

 

  • LAMB CRAWFORD D., Love and Anguish, pp. 129-139

 

  • FRIGYESI J., The Verbunkos and Bartók’s Modern Style, pp. 140-151

 

  • PORTER J., Bartók’s Concerto for Orchestra (1943) and Janáček’s Sinfonietta (1926), pp. 152-168

 

  • KÁRPÁTI J., Bartók in North Africa, pp. 171-184

 

  • YEOMANS D., Background and Analysis of Bartók’s Romanian Christmas Carols for Piano (1915), pp. 185-195

 

  • RICE T., Béla Bartók and Bulgarian Rhythm, pp. 196-210

 

  • SOMFAI L., Bartók’s Notations in Composition and Transcription, pp. 213-225

 

  • LEAFSTEDT C. S., Pelléas Revealed, pp. 226-244

 

  • BARTÓK P., Correcting Printed Editions of Béla Bartók’s Viola Concerto and Other Compositions, pp. 245-259

 

  • DELLAMAGGIORE N., Deciphering Béla Bartók’s Viola Concerto Sketch, pp. 260-270

 

  • FISCHER V., Bartók’s Fourteen Bagatelles op. 6, for Piano, pp. 273-286

 

  • GILLIES M., The Canonization of Béla Bartók, pp. 289-302
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