The Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music

Contents

• List of Illustrations
• Preface
• Acknowledgments
• I The Musical Language of Bartok: Historical Backgrounds
• Folk- and Art-Music Sources
• Orientation toward French, Russian, and Folk-Music Sources:
• Nonfunctional Bases in Pentatonic, Modal, and Whole-Tone
• Constructions
• Use of Symmetrical Pitch Collections by Russian, French,
• and Hungarian Composers
• Russian Nationalists:
• Symmetrical Properties of the Dominant-Ninth Chord
• Russian Nationalists, Debussy, and Stravinsky:
• Symmetrical Properties of Nontraditional as Well as Traditional
• (Pentatonic and Modal) Pitch Constructions
• Russian Nationalists, Scriabin, and Kodaly:
• Symmetrical Partitions of the Octatonic Scale
• Late Nineteenth- and Early Twentieth-Century Germanic Influences:
• Symmetrical Organization of Chromatically Related Keys
• The Schoenberg School:
• Symmetrical Formations as the Basis of Progression
• in Free-Atonal Compositions
• Berg and Webern:
• Total Systematization of the Concepts of the Interval Cycle and
• Inversional Symmetry in Dodecaphonic Serial Compositions
• II Harmonization of Authentic Folk Tunes
• III Symmetrical Transformations of the Folk Modes
• IV Basic Principles of Symmetrical Pitch Construction
• V Construction, Development, and Interaction of lntervallic Cells
• VI Tonal Centricity Based on Axes of Symmetry
• Including the Concepts of:
• Symmetrical Organization around an Axis; Use of Symmetrical
• Cells in Establishing Axes; Interaction of Traditional Tonal Centers
• and Axes
• VII Interaction of Diatonic, Octatonic, and Whole-Tone Formations
• VIII Generation of the Interval Cycles
• IX Conclusion
• Chronological List of Cited Bartok Compositions
• Works Cited
• Index to Basic Terms, Definitions, and Concepts
• Index to Compositions
• General Index