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