Le CD d'acc. comprend 182 mélodies et 33 variantes enregistrées par Bartók lors de ses collectes sur le terrain.

The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartók's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.

Composer, folklorist, and performer Béla Bartók (1881–1945) is internationally renowned as one of the most important and influential musicians of the twentieth century. Throughout his life he wrote lectures and essays that dealt with virtually every aspect of East European folk music. Many of those essays, previously scattered in specialist journals in four different languages, are collected here for the first time. All are concerned with that branch of musicology within which Bartók was most influential, and for which he is best known: research into folk music, or ethnomusicology. The volume includes a preface by editor Benjamin Suchoff, a leading expert on Bartók’s music and writings. Suchoff examines Bartók’s developing views on the folk-music traditions of Hungary, Romania, Slovakia, and the Arab world.

This second edition ofBela Bartok: A Guide to Researchpresents a concisely detailed history of Bartok's musical development, a catalogue of his compositions according to genre (including basic data on Bartok's publishers, achives, library collections, and catalogues), and 1200 annotated primary and secondary sources. A decade of scholarship since the first edition (1988) is included; over forty percent of the material in the second edition is new. Four indexes cover listings by author and title; Bartok's compositions and his editions and transcriptions of earlier keyboard works; proper names; and subjects. Primary sources include: Bartok's own essays, articles, lectures on folk music and art music, letters, and other documents; his folk music collections; facsimilies, reprints, and revisions of his music; and his own editions and transcriptions of earlier keyboard music. Secondary sources include: biographical and historical studies, specialized studies of his personality, philiosophy, andpolitical attitudes; theoretic, analytic, stylistic, and aesthetic studies of his music; discussions of folk music influences and art music influences; studies of his compositional process (based on autograph manuscripts, editions, and his own recordings); discussions of his orientation toward pedagogy; and discussions of insitutional sources for Bartok's research (including archival and bibliographic sources, special issues, festivals, conferences, colloquia, concert programs, and computerized data bases for Bartok analysis and research. This annotated, topically-organizedGuideis the most extensive bibliographical research tool on Bartok. It is the first to draw together the most important primary and secondary bibliographic sources, which cover his varied activities as composer, ethnomusicologist, pianist, pedagogue, linguist, and editor. It is significant not only for those interested in musicological research into Bartok's compositional and scholarly activities but also for those interestedin ethnomusicological research methodology in general, and the study of Eastern European, North African Arab, and Turkish folk music in particular.

"Béla Bartók's string quartets are 'key works': in them is reflected the stylistic development not only of his own art but of the music of a whole age, the twentieth century, and also of the string quartet genre itself. Each of the six string quartets represents a milestone in Bartók's creative path. They offer a faithful and comprehensive picture of the various periods in the composer's creative development, each bears the characteristic marks of these periods, showing as they do the direction taken by Bartók's orientations, the various influences and his own individual original methods. János Kárpáti's monograph on the one hand sets these works against the background of the whole history of the string quartet as a genre, thus indicating their position as the direct continuation of the late Beethoven quartets, and on the other hand it presents an exposition of the factors involved in Bartók's art, the trace of the influence of art music and folk music, of predecessors and contemporaries--placing Bartók at the head of the twentieth century masters as the distillation and summary of all that preceded him."--Dust jacket.

"In this intriguing study, William Kinderman opens the door to the composer's workshop, investigating not just the final outcome but the process of creative endeavour in music. Focusing on the stages of composition, Kinderman maintains that the most rigorous basis for the study of artistic creativity comes not from anecdotal or autobiographical reports, but from original handwritten sketches, drafts, revised manuscripts, and corrected proof sheets. He explores works of major composers from the eighteenth century to the present, from Mozart's piano music and Beethoven's Piano Trio in F to Kurtag's Kafka Fragments and Hommage a R. Sch. Other chapters examine Robert Schumann's Fantasie in C, Mahler's Fifth Symphony, and Bartok's Dance Suite. Revealing the diversity of sources, rejected passages and movements, fragmentary unfinished works, and aborted projects that were absorbed into finished compositions, The Creative Process in Music from Mozart to Kurtag illustrates the wealth of insight that can be gained through studying the creative process." -- Blackwells.