Rhythm in the First Movement of Bartók's Contrasts
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University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Toward a Lexicon for the Style Hongrois Jonathan D
University of Northern Colorado Scholarship & Creative Works @ Digital UNC School of Music Faculty Publications School of Music Spring 1991 Toward a Lexicon for the Style hongrois Jonathan D. Bellman Follow this and additional works at: https://digscholarship.unco.edu/musicfacpub Part of the Musicology Commons Recommended Citation Bellman, Jonathan D., "Toward a Lexicon for the Style hongrois" (1991). School of Music Faculty Publications. 2. https://digscholarship.unco.edu/musicfacpub/2 This Article is brought to you for free and open access by the School of Music at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in School of Music Faculty Publications by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. Toward a Lexicon for the Style hongrois Author(s): Jonathan Bellman Source: The Journal of Musicology, Vol. 9, No. 2 (Spring, 1991), pp. 214-237 Published by: University of California Press Stable URL: http://www.jstor.org/stable/763553 . Accessed: 17/01/2015 20:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the Gypsy Violin A
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Gypsy Violin A thesis submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Eun Ah Choi December 2019 The thesis of Eun Ah Choi is approved: ___________________________________ ___________________ Dr. Liviu Marinesqu Date ___________________________________ ___________________ Dr. Ming Tsu Date ___________________________________ ___________________ Dr. Lorenz Gamma, Chair Date California State University, Northridge ii Table of Contents Signature Page…………………………………………………………………………………….ii List of Examples……………………………………………………………………………...…..iv Abstract…………………………………………………………………………………………....v Chapter 1: Introduction.……………..……………………………………………………….……1 Chapter 2: The Establishment of the Gypsy Violin.……………………….……………………...3 Chapter 3: Bela Bartók’s Romanian Folk Dances [1915].………….…….……………………….8 Chapter 4: Vittorio Monti’s Csádás [1904]….…………………………………..………………18 Chapter 5: Conclusion …………..……………...……………………………………………….24 Works Cited.…………….……………………………………………………………………….26 California State University, Northridge iii List of Examples 1 Bartók’s Romanian Dances, Movement I: mm. 1-13……………………………………..9 2 Bartók’s Romanian Dances, Movement II: mm. 1-16…………………………...………10 3 Bartók’s Romanian Dances, Movement III …………………………………..…………12 4 Bartók’s Romanian Dances, Movement IV …………………………………..…………14 5 Bartók’s Romanian Dances, Movement V: mm. 5-16…………………………………...16 6 Monti’s Csárdás, m. 5………………………………………………..………………......19 7 Monti’s Csardas, mm. 6-9…………………………………………..…………………...19 8 Monti’s Csárdás, mm. 14-16.…………………………………….……………………...20 9 Monti’s Csárdás, mm. 20-21.………………………………….……………………..….20 10 Monti’s Csárdás, mm. 22-37………………….…………………………………………21 11 Monti’s Csárdás, mm. 38-53…………………….………………………………………22 12 Monti’s Csárdás, mm. 70-85…………………….………………………………………23 iv Abstract The Gypsy violin By Eun Ah Choi Master of Music in Music, Performance The origins of the Gypsies are not exactly known, and they lived a nomadic lifestyle for centuries, embracing many cultures, including music. -
The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9! -
Bestimmung Der Expositionsverteilung Von HF Feldern Im Menschlichen Körper, Unter Berücksichtigung Kleiner Strukturen Und Thermophysiologisch Relevanter Parameter
Forschungsvorhaben Bestimmung der Expositionsverteilung von HF Feldern im menschlichen Körper, unter Berücksichtigung kleiner Strukturen und thermophysiologisch relevanter Parameter Abschlussbericht Gernot Schmid, Richard Überbacher, Patrick Preiner, Theodoros Samaras, Peter Mazal, Alexandra Jappel, Wolf-Dieter Baumgartner, Manfred Tschabitscher korrigierte Ausgabe Oktober 2008 (Originalausgabe August 2006) Exemplar 1 ARC-IT-0174 Verteiler: 1-4 Bundesamt für Strahlenschutz 5 DI Lamedschwandner 6 DI Schmid 7 DI Überbacher 8 DI Preiner 9 Dr. Samaras 10 Prof. Mazal 11 Fr. Jappel 10 Prof. Baumgartner 12 Prof. Tschabitscher 13 Sekretariat ARCS/IT ARC-IT-0174 Oktober 2008 Bestimmung der Expositionsverteilung von HF Feldern im menschlichen Körper, unter Berücksichtigung kleiner Strukturen und thermophysiologisch relevanter Parameter Abschlussbericht im Auftrag des Bundesamtes für Strahlenschutz 38201 Salzgitter, Deutschland Gernot Schmid1, Richard Überbacher1, Patrick Preiner1, Theodoros Samaras2, Peter Mazal3, Alexandra Jappel4, Wolf-Dieter Baumgartner4, Manfred Tschabitscher5 1 ARC Seibersdorf research GmbH Geschäftsfeld Sichere Mobilkommunikation A-2444 Seibersdorf 2 Aristotle University of Thessaloniki, Radio Communications Laboratory, GR-54124 Thessaloniki 3 Klinisches Institut für Pathologie, Medizinische Universität Wien Währinger Gürtel 18-20 A-1090 Wien 4 Universitätsklinik für Hals- Nasen- und Ohrenkrankheiten, Medizinische Universität Wien Währinger Gürtel 18-20 A-1090 Wien 5 Zentrum für Anatomie und Zellbiologie, Medizinische Universität -
Modern Art Music Terms
Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation. -
Dissertation Chapter 3
CHAPTER 3: SYNTHETIC ‘KERNELS’ “…it should be borne in mind that variation is the basic creative method of folk music, and thus in Bartók’s eyes the natural mode of composition…” -Bence Szabolcsi, “Man and Nature in Bartók’s World”1 THEME… When Zoltán Székely approached Bartók with a commission for a new violin concerto in the fall of 1936, the composer’s first idea was to write a single movement in variation form.2 Székely, however, insisted on the form of a traditional concerto. Bartók obliged him with a large scale three-movement composition, but still remained faithful to his original vision: not only is the second movement a set of variations on an original theme, Bartók also derives all of the third movement from the musical material of the first movement through free variations. While the Piano Concerto No. 2 also displays thematic variation between its first and third movements, “the correspondence between the two exterior movements [in the Violin Concerto] goes much further than the simple re-use of materials: the architecture is duplicated almost section by section. Both are large sonata-form movements, with two main thematic groups and a number of pertinent 1 Bence Szabolsci, “Man and Nature in Bartók’s World,” in Bartók Studies, ed. Todd Crow (Detroit: Information Coordinators, 1976), 72. 2 Lampert cites Somfai, Tizennyolc Bartók tanulmány (1981). associates with the form.”3 In light of Bartók’s proclivity for the variation principle in his free composition,4 it is remarkable that the second movement of the Violin Concerto represents his only large-scale essay in the form of theme and variations. -
Society for Ethnomusicology Abstracts
Society for Ethnomusicology Abstracts Musicianship in Exile: Afghan Refugee Musicians in Finland Facets of the Film Score: Synergy, Psyche, and Studio Lari Aaltonen, University of Tampere Jessica Abbazio, University of Maryland, College Park My presentation deals with the professional Afghan refugee musicians in The study of film music is an emerging area of research in ethnomusicology. Finland. As a displaced music culture, the music of these refugees Seminal publications by Gorbman (1987) and others present the Hollywood immediately raises questions of diaspora and the changes of cultural and film score as narrator, the primary conveyance of the message in the filmic professional identity. I argue that the concepts of displacement and forced image. The synergistic relationship between film and image communicates a migration could function as a key to understanding musicianship on a wider meaning to the viewer that is unintelligible when one element is taken scale. Adelaida Reyes (1999) discusses similar ideas in her book Songs of the without the other. This panel seeks to enrich ethnomusicology by broadening Caged, Songs of the Free. Music and the Vietnamese Refugee Experience. By perspectives on film music in an exploration of films of four diverse types. interacting and conducting interviews with Afghan musicians in Finland, I Existing on a continuum of concrete to abstract, these papers evaluate the have been researching the change of the lives of these music professionals. communicative role of music in relation to filmic image. The first paper The change takes place in a musical environment which is if not hostile, at presents iconic Hollywood Western films from the studio era, assessing the least unresponsive towards their music culture. -
Neoclassicism 8 Copy
THREE NEOCLASSICAL COMPOSITIONS FOR VIOLIN AND PIANO: STRAVINSKY’S DUO CONCERTANTE, PROKOFIEV’S VIOLIN SONATA NO. 2 IN D MAJOR, AND POULENC’S VIOLIN SONATA OP. 119 by JONG AH MOON (Under the Direction of Levon Ambartsumian) ABSTRACT In the early part of the twentieth century, the Neoclassical style was a strong influence on violin works by composers such as Igor Stravinsky, Francis Poulenc, and Sergei Prokofiev. Through a recording project and an accompanying document, I will introduce distinctive styles of Neoclassical violin music within three works: Stravinsky’s Duo concertante (1932), Prokofiev’s Violin Sonata No. 2 in D Major, Op. 94 bis (1943), and Poulenc’s Violin Sonata, Op. 119 (1942-1943). Through the performance and discussion, I explore ways to interpret these works in light of their Neoclassical elements. INDECX WORDS: Neoclassicism, Neoclassical violin music, Igor Stravinsky, Sergei Prokofiev, Francis Poulenc, Duo concertante, Violin Sonata No. 2, Violin Sonata Op. 119. THREE NEOCLASSICAL COMPOSITIONS FOR VIOLIN AND PIANO: STRAVINSKY’S DUO CONCERTANTE, PROKOFIEV’S VIOLIN SONATA NO. 2 IN D MAJOR, AND POULENC’S VIOLIN SONATA OP. 119 by JONG AH MOON B. Mus., Ewha Womans University, South Korea, 2006 M.M., New England Conservatory, 2008 A Document Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2013 © 2013 Jong Ah Moon All Rights Reserved THREE NEOCLASSICAL COMPOSITIONS FOR VIOLIN AND PIANO: STRAVINSKY’S DUO CONCERTANTE, PROKOFIEV’S VIOLIN SONATA NO. 2 IN D MAJOR, AND POULENC’S VIOLIN SONATA OP. -
Kodaly Overview and Analysis
A Historical Overview and Analysis of the Use of Hungarian Folk Music in Zoltán Kodály’s Háry János Suite, Dances of Marosszék, and Dances of Galánta Copyright 2011 Author: Corinne Kay Ong Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________ Chairperson: Dr. Paul Laird ________________________________ Dr. Charles Freeman ________________________________ Dr. Eric Stomberg ________________________________ Dr. Stephanie Zelnick Date Defended: 05/17/2011 ii The Thesis Committee for Corinne Kay Ong certifies that this is the approved version of the following thesis: A Historical Overview and Analysis of the Use of Hungarian Folk Music in Zoltán Kodály’s Háry János Suite, Dances of Marosszék, and Dances of Galánta ________________________________ Chairperson: Dr. Paul Laird Date approved: 05/17/2011 iii Abstract At the beginning of the twentieth century, many composers looked towards the music of their own heritage as source material for their original compositions. In Hungary, one composer who dedicated a significant portion of his life to the research, study, and transcription of folk music is Zoltán Kodály. Three of his orchestral works dating from 1926 to 1933 make imaginative use of various Hungarian folk melodies within orchestral textures that also include the traditional idioms of concert music. These three works are the Háry János Suite, Dances of Marosszék, and Dances of Galánta. These three pieces are closely examined for their adherence to the customs of Hungarian folk music, influence of Western practices within the work, and how Kodály combines the two elements to form original ideas. -
Performance Practice in Hungarian Folk Music and Its Relationship to the Style Hongrois
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2019 Performance practice in Hungarian folk music and its relationship to the Style Hongrois Teresa Vinci Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Practice Commons, and the Other Music Commons "Never Far Away" [CD] can be purchased through [email protected] Recommended Citation Vinci, T. (2019). Performance practice in Hungarian folk music and its relationship to the Style Hongrois. https://ro.ecu.edu.au/theses/2265 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2265 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). -
The Music of the Roma in Hungary
Data » Music » Countries » The music of the Roma in Hungary http://romani.uni-graz.at/rombase The music of the Roma in Hungary Katalin Kovalcsik Traditionally there are two kinds of music performed by the Roma: one is musical service rendered for non-Romani audiences, the other is music made within the Romani community. The music played for outsiders is labelled "Gypsy music" by Hungarian scientific literature having adopted its colloquial name, and the music they use among themselves is called "folk music". At the same time, the Roma began gradually to develop an ethnic music culture from the 1970s. The process of creating the institutional conditions for the practising, improvement and presentation of their own culture picked up momentum when after the great political turn they obtained national minority status. In the following, I first give a sketchy summary of the two traditional cultural modes, before listing the main tendencies asserted in today's Romani music life in Hungary. The table below shows the Romani ethnic groups in Hungary and their traditional occupations (after Kemény 1974). The major ethnic groupings of the Roma living in Hungary The name of the First language Proportion according to Traditional occupations grouping (in brackets their first language their own name) within the Romani population, in % Hungarian (romungro) Hungarian ca 71 music making in musician dynasties, metal-working, brick-making, agricultural labour etc. Vlach (vlašiko) Romani- Hungarian ca 21 metal-working, sieve-making, horse-dealing, trading etc. Boyash (băiaş) Romanian- Hungarian ca 8 wood-working (tubs, spoons, other wooden household utensils) Slovak (serviko) Romani- Hungarian No data.