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Bartók's String Quartet No. 4/III: A New Interpretative Approach

Bartók's String Quartet No. 4/III: A New Interpretative Approach Music Analysis, 19/iii (2000) ß 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  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  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  cello solo in the third http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Bartók's String Quartet No. 4/III: A New Interpretative Approach

Music Analysis , Volume 19 (3) – Oct 1, 2000

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Publisher
Wiley
Copyright
Copyright © 2000 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00124
Publisher site
See Article on Publisher Site

Abstract

Music Analysis, 19/iii (2000) ß 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  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  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  cello solo in the third

Journal

Music AnalysisWiley

Published: Oct 1, 2000

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