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E. Lendvai, A. Bush (1971)
Bela Bartok: An Analysis of His Music
O. Messiaen, J. Satterfield (1957)
The technique of my musical languageNotes, 14
L. Somfai (1996)
Bela Bartok: Composition, Concepts, and Autograph Sources
Leonard Meyer (1989)
Style and Music: Theory, History, and Ideology
A. Schoenberg, Gerald Strang, L. Stein (1973)
Fundamentals of Musical Composition
Judit Frigyesi (1998)
Béla Bartók and turn-of-the-century Budapest
Music Analysis, 19/iii (2000) à Blackwell Publishers Ltd. 2000. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK AMANDA BAYLEY interpretation of J.S. Bach's music, even though the stylistic parameters are obviously different. John Butt writes: The choice of articulation involves several interpretative decisions which relate closely to how the performer perceives the music and its style. It inevitably involves establishing a hierarchy within the music, not only of how each note relates to its neighbours but also of how groups of notes are defined and which groups of notes within them are of particular importance.3 More specifically, the reason the relevance of Bach's articulation to the study of Bartok's work comes from their shared basis in principles of rhetoric. In Bach's à time, education and religion contributed to a player's `realization of the message of the composition, often completing the ornamentation and diminution of the basic musical structure'.4 As composer, Bartok assumes à the position of the performer in Bach's era by translating the degrees of ornamentation sung or played by folk musicians and accommodating them in his musical structures. Bartok's rhythmic articulation in the first bars of the à cello solo in the third
Music Analysis – Wiley
Published: Oct 1, 2000
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