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Béla Bartók's Evolution of Tonal Resources

Béla Bartók's Evolution of Tonal Resources This article develops a method for interpreting Béla Bartók's early tonal practice that supposes a conceptual shift from a relatively historically static major-minor tonality to a multivalent, “evolving” tonality in which works express individual variations on abstract, communal ideas of key. Starting with Edward Gollin's recent generalization of Moritz Hauptmann's key representations as “multiaggregate cycles”—which he also uncovers on the surface of and in the relations between harmonies in Bartók's music—the article briefly reconsiders Hauptmann's theories and depictions and then elaborates on the relation between those key depictions and multiaggregate cycles. Ultimately, it argues that augmented and diminished triads—the harmonies disjunctive to the alternating major and minor thirds that generate Hauptmann's representations—form the primary basis for Bartók's multiaggregate cycles and that these “(048) or (0369) chains” exemplify augmented and diminished tendencies propelling the development of new key variations. By way of demonstration, the article ends with several analyses of Bartók's works from the decade 1908–17: the first movement of the Second String Quartet (1914–17), “Three Autumn Teardrops” from the Five Songs, op. 16 (1916), the fourth of the Four Dirges (1910), and the Tenth Bagatelle (1908). Béla Bartók Moritz Hauptmann tonality key interval cycles http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Béla Bartók's Evolution of Tonal Resources

Journal of Music Theory , Volume 61 (1) – Apr 1, 2017

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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-3855732
Publisher site
See Article on Publisher Site

Abstract

This article develops a method for interpreting Béla Bartók's early tonal practice that supposes a conceptual shift from a relatively historically static major-minor tonality to a multivalent, “evolving” tonality in which works express individual variations on abstract, communal ideas of key. Starting with Edward Gollin's recent generalization of Moritz Hauptmann's key representations as “multiaggregate cycles”—which he also uncovers on the surface of and in the relations between harmonies in Bartók's music—the article briefly reconsiders Hauptmann's theories and depictions and then elaborates on the relation between those key depictions and multiaggregate cycles. Ultimately, it argues that augmented and diminished triads—the harmonies disjunctive to the alternating major and minor thirds that generate Hauptmann's representations—form the primary basis for Bartók's multiaggregate cycles and that these “(048) or (0369) chains” exemplify augmented and diminished tendencies propelling the development of new key variations. By way of demonstration, the article ends with several analyses of Bartók's works from the decade 1908–17: the first movement of the Second String Quartet (1914–17), “Three Autumn Teardrops” from the Five Songs, op. 16 (1916), the fourth of the Four Dirges (1910), and the Tenth Bagatelle (1908). Béla Bartók Moritz Hauptmann tonality key interval cycles

Journal

Journal of Music TheoryDuke University Press

Published: Apr 1, 2017

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