Sonata de bartok para 2 pianos y percusión ensayo sobre el primer mov.

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AN ANALYSIS OF THE GENESIS OF MOTIVE, RHYTHM, AND PITCH IN THE FIRST MOVEMENT OF THE SONATA FOR TWO PIANOS AND PERCUSSION BY BÉLA BARTÓK Emöke Ujj-Hilliard, B.M., M.M.

Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS May 2004

APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Timothy Jackson, Minor Professor AdamWodnicki, Committee Member John Scott, Dean of the College of Music Sandra L. Terrell, Interim Dean of the Robert B. Toulouse School of Graduate Studies

Ujj-Hilliard, Emöke, An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for Two Pianos and Percussion by Béla Bartók. Doctor of Musical Arts (Performance), May 2004, 182 pp., 42 examples,references, 89 titles. This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianosand Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored inmore detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance.This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.

Copyright 2004 by Emöke Ujj-Hilliard

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ACKNOWLEDGMENTS

The author wouldlike to express the deepest gratitude to Dr. Timothy Jackson, the director of the dissertation, for his constant interest and helpful guidance. His scholarly example as a thinker and creator of ideas has been an inspiration to the writer. Appreciation is also expressed to Dr. Pamela Mia Paul, Mr. Adam Wodnicki, the other members of the doctoral committee, for their helpful suggestions andcomments. Grateful acknowledgment is expressed to Boosey and Hawkes, Inc., for permission to quote from the music of the Sonata for Two Pianos and Percussion. I would like to thank Mr. Péter Bartók for permission to reproduce the manuscripts included in the dissertation. Special thanks must be given to Lorrelaine Mecca for her valuable suggestions in my English writing. Bill Pavlakmade available the Schenkerian examples. I wish to thank Jennifer Sadoff and Michael Crispin for their invaluable help with computers. Mr. Christopher Deana gave me some very interesting information on the percussion parts. Finally, I would like to thank my family for constant support.

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TABLE OF CONTENTS Page ACKNOWLEDGMENTS ……………………………………………………………………….iii LIST OFTABLES.....................................................................................................................….iv LIST OF MUSICAL EXAMPLES.................................................................................................vi NOTE TO READER......................................................................................................................xv Chapter 1....
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