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Bartok's Sonata No. 2 for violin and...

Chung, Eui Young.

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Bartok's Sonata No. 2 for violin and piano: Structural functions of polymodal combination.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Bartok's Sonata No. 2 for violin and piano: Structural functions of polymodal combination./
Author:	Chung, Eui Young.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2000,
Description:	106 p.
Notes:	Source: Dissertations Abstracts International, Volume: 62-06, Section: A.
Contained By:	Dissertations Abstracts International62-06A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9983122
ISBN:	9780599897182

Bartok's Sonata No. 2 for violin and piano: Structural functions of polymodal combination.
Chung, Eui Young.

Bartok's Sonata No. 2 for violin and piano: Structural functions of polymodal combination. - Ann Arbor : ProQuest Dissertations & Theses, 2000 - 106 p.

Source: Dissertations Abstracts International, Volume: 62-06, Section: A.

Thesis (D.M.A.)--The University of Texas at Austin, 2000.

This item must not be sold to any third party vendors.

The intention in this treatise is to demonstrate how special modal constructions generate a new musical language in Bartok's middle period works. In his two Sonatas for Violin and Piano of the early 1920s, he was moving toward the most intensive stage of synthesis of folk- and art-music materials that he had absorbed earlier. With both Sonatas, Bartok had reached a point in which he seemed to be approaching the more intense twelve-tone, abstract language and style of Arnold Schoenberg. However, Bartok's two Sonatas remain, in the final analysis, very different from Schoenberg's idiom in their approach to the twelve-tone continuum. Bartok used the twelve-tones as "scale," based on modal combinations and their cyclic-interval/symmetrical transformations, while Schoenberg used the twelve-tones as "theme," based on the surface ordering (serialization) of notes. Chapter I presents the background and evolution of Bartok's musical language from the folk-music sources to a more abstract set of pitch relations. This evolution is based on a change from his earlier juxtaposition of divergent folk- and art-music sources to their synthesis in more complex textures. Chapter II analyzes the first movement of Sonata No. 2. It shows how a nondiatonic Romanian folk mode in its various rotations within a larger-scale family serves as the framework for a new kind of tonality and progression. Chapter III analyzes the second movement of Sonata No. 2 to demonstrate how Bartok creates polymodal chromaticism by applying different combinations of diatonic and nondiatonic modes, and how he uses different folk rhythms within the more abstract tonal language. All of these modal interactions and rhythmic schemata are absorbed into a larger, more general structural conception. The latter is based on an organic process that the composer himself has identified according to the principle of "diatonic extension" of chromatic themes and the reverse, "chromatic compression" of diatonic themes. The Sonata No. 2, as well as Sonata No. 1, are among the most intensive representations of all these principles.

ISBN: 9780599897182Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Bartok, Bela

Bartok's Sonata No. 2 for violin and piano: Structural functions of polymodal combination.
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520 $a The intention in this treatise is to demonstrate how special modal constructions generate a new musical language in Bartok's middle period works. In his two Sonatas for Violin and Piano of the early 1920s, he was moving toward the most intensive stage of synthesis of folk- and art-music materials that he had absorbed earlier. With both Sonatas, Bartok had reached a point in which he seemed to be approaching the more intense twelve-tone, abstract language and style of Arnold Schoenberg. However, Bartok's two Sonatas remain, in the final analysis, very different from Schoenberg's idiom in their approach to the twelve-tone continuum. Bartok used the twelve-tones as "scale," based on modal combinations and their cyclic-interval/symmetrical transformations, while Schoenberg used the twelve-tones as "theme," based on the surface ordering (serialization) of notes. Chapter I presents the background and evolution of Bartok's musical language from the folk-music sources to a more abstract set of pitch relations. This evolution is based on a change from his earlier juxtaposition of divergent folk- and art-music sources to their synthesis in more complex textures. Chapter II analyzes the first movement of Sonata No. 2. It shows how a nondiatonic Romanian folk mode in its various rotations within a larger-scale family serves as the framework for a new kind of tonality and progression. Chapter III analyzes the second movement of Sonata No. 2 to demonstrate how Bartok creates polymodal chromaticism by applying different combinations of diatonic and nondiatonic modes, and how he uses different folk rhythms within the more abstract tonal language. All of these modal interactions and rhythmic schemata are absorbed into a larger, more general structural conception. The latter is based on an organic process that the composer himself has identified according to the principle of "diatonic extension" of chromatic themes and the reverse, "chromatic compression" of diatonic themes. The Sonata No. 2, as well as Sonata No. 1, are among the most intensive representations of all these principles.
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