Béla Bartók was one of the outstanding Hungarian musicians in 20th century, who created and developed his own unique music of style called ¡§Night Music.¡¨ After premiered ¡§The Night¡¦s Music¡¨ (the fourth piece of the piano suite Out of Doors) in1926, Bartók decided the name and characteristics of Night Music, and then placed plentifully such style in his later compositions. Night Music mainly reflects Bartók¡¦s love for nature and concerns about Hungary. With abundant colors of sounds, Bartók depicted vividly the tranquil and dim atmosphere of night. His compositional techniques, mimicked sounds of various nocturnal animals in Hungarian nights, expressing power of nature and breaking the stereotype of quietness about night. The contents of this thesis are divided into three parts besides introduction and conclusion. The first part is Bartók¡¦s career of music, and his compositional style. In the second part, the differences between Nocturne in the 19th century and Bartók¡¦s Night Music will be examined. Then, the Night Music will be discussed in two dimensions: its origin and its features. The third part uses mainly ¡§The Night¡¦s Music¡¨, with supplement of the second movement of Sonata for Two Pianos and Percussion, and the second movement of Concerto No. 3 for Piano and Orchestra, in order to analyse the features and the unique compositional skills of Night Music.

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Introduction -- The structure of Bartók's music: Basic tonal principles, Formal principles, Harmony -- Analysis of the Fugues: The subject, The answer, The countersubject, Overall organization of the Fugues -- Conclusion.

Bela Bartok's six string quartets are generally regarded as the next most significant works in the medium after the quartets of Beethoven. Unlike some of his contemporaries in the field, e.g, Hindemith, Milhaud, and Schoenberg, Bartok's quartets are representative of his musical growth and, as such, are worthy of equal status with those of such recognized masters as Haydn and Mozart, as well as Beethoven...

Influenced by the ideological trend of nationalism, Béla Bartók (1881-1945), an important Hungarian composer in the 20th century, dedicated himself to compositions with native culture. His piano solo work, Improvisations on Hungarian Peasant Songs, Op.20 (1920), is made of traditional Hungarian peasant music. In addition to its melody, mode scale, and the unique rhythm derive from the peasant music, this arrangement is created by using 20th-century compositional technique. Bartók had once claimed that this music piece is the most mature and integrated one among all his transcriptions of folk music. The first chapter of the paper introduces the Béla Bartók¡¦s journey of collecting the folk materials and the musical characteristics of Hungarian folk music, showing its thorough impact on his works. The second chapter discusses the classification of Bartók¡¦s different methods to compose transcriptions of folk music. The third chapter focuses on finding the distinguishing features of Improvisations on Hungarian Peasant Songs, Op.20. The compositional methods about how Bartók made use of the folk music are analyzed from aspects of melodic structure, rhythmic application, and mode scale.

Esta tese teve como objetivo principal a investigação de estratégias na utilização da simetria inversiva em obras de Villa-Lobos, tendo como recorte obras compostas entre os anos de 1945 e 1950, período em que o compositor realizou diversas viagens aos Estados Unidos. Dentre as obras selecionadas para análise, constam os Quartetos de cordas n. 9 (1945), n. 10 (1946), n. 11 (1947) e n. 12 (1950), as Sinfonias n. 7 (1945) e n. 8 (1950), o Trio de cordas (1945) e o Duo de cordas (1946), o poema sinfônico Erosão (1950), o Concerto n. 1 para piano e orquestra (1945) e o Quarteto de cordas n. 4, que traz em seu manuscrito o ano de 1917, mas foi estreado apenas em 1949. Foi efetuado um breve levantamento musicológico acerca da vida de Villa- Lobos no período investigado e uma pesquisa sobre as propriedades estéticas da simetria nas artes visuais, demonstrando uma grande proximidade destas com o resultado sonoro, sendo a simetria relacionada à estaticidade e a assimetria, ao movimento. Por ser um dos compositores mais analisados no que diz respeito ao uso de simetria inversiva, obras de Béla Bartók foram analisadas e serviram como base metodológica, a saber: 14 Bagatelas op. 6: n. 2 (1908), 8 Improvisações sobre canções camponesas húngaras op. 20: n. 3 (1920) e excertos do Quarteto de cordas n. 3 (1927). A análise das obras, tanto de Bartók quanto de Villa-Lobos, revelou a presença de diversos eixos de simetria, tal qual a organização destes em torno de metaeixos, recurso analítico desenvolvido pelo autor deste trabalho. / The aim of this thesis is to investigate the usage of inversional symmetry in Villa-Lobos music, analyzing works composed between 1945 and 1950, after his first visit to the United States of America. The compositions selected were: the Ninth, Tenth, Eleventh and Twelfth String Quartets (1945, 1946, 1947, 1950); the String Trio (1945) and Duo (1946); the Seventh and Eighth Symphonies (1945, 1950); the First Concerto for Piano and Orchestra (1945); the symphonic poem Erosão (1950); and the Fourth String Quartet, that brings 1917 as the year of composition on its manuscript, but was premiered only in 1949. A brief musicological study was conducted about Villa-Lobos in the period. An investigation about symmetry and its aesthetic properties in visual arts was also proposed, revealing a great proximity between its visual and hearing perception, being symmetry related to stasis, and asymmetry to movement. In order to provide a basis for the methodological study of symmetry, three works composed by Béla Bartók, a composer well known for the use of inversional symmetry, were analyzed: Fourteen Bagatelles op. 6: no. 2 (1908); Eight Improvisations on Hungarian Peasant Songs op. 20: no. 3 (1920); and parts of the Third String Quartet (1927). The analysis of these works by both composers revealed the presence of several axes of symmetry, such as the structuring of these around meta-axes of symmetry, an analytical resource developed by the author of this work.

Die musiktheoretische Analyse setzt die Musik Bartóks mit der Beirachs und Shaws in Beziehung und fragt nach Schnittstellen in der Musik der drei Komponisten.

Esta tese teve como objetivo principal a investigação de estratégias na utilização da simetria inversiva em obras de Villa-Lobos, tendo como recorte obras compostas entre os anos de 1945 e 1950, período em que o compositor realizou diversas viagens aos Estados Unidos. Dentre as obras selecionadas para análise, constam os Quartetos de cordas n. 9 (1945), n. 10 (1946), n. 11 (1947) e n. 12 (1950), as Sinfonias n. 7 (1945) e n. 8 (1950), o Trio de cordas (1945) e o Duo de cordas (1946), o poema sinfônico Erosão (1950), o Concerto n. 1 para piano e orquestra (1945) e o Quarteto de cordas n. 4, que traz em seu manuscrito o ano de 1917, mas foi estreado apenas em 1949. Foi efetuado um breve levantamento musicológico acerca da vida de Villa- Lobos no período investigado e uma pesquisa sobre as propriedades estéticas da simetria nas artes visuais, demonstrando uma grande proximidade destas com o resultado sonoro, sendo a simetria relacionada à estaticidade e a assimetria, ao movimento. Por ser um dos compositores mais analisados no que diz respeito ao uso de simetria inversiva, obras de Béla Bartók foram analisadas e serviram como base metodológica, a saber: 14 Bagatelas op. 6: n. 2 (1908), 8 Improvisações sobre canções camponesas húngaras op. 20: n. 3 (1920) e excertos do Quarteto de cordas n. 3 (1927). A análise das obras, tanto de Bartók quanto de Villa-Lobos, revelou a presença de diversos eixos de simetria, tal qual a organização destes em torno de metaeixos, recurso analítico desenvolvido pelo autor deste trabalho. / The aim of this thesis is to investigate the usage of inversional symmetry in Villa-Lobos music, analyzing works composed between 1945 and 1950, after his first visit to the United States of America. The compositions selected were: the Ninth, Tenth, Eleventh and Twelfth String Quartets (1945, 1946, 1947, 1950); the String Trio (1945) and Duo (1946); the Seventh and Eighth Symphonies (1945, 1950); the First Concerto for Piano and Orchestra (1945); the symphonic poem Erosão (1950); and the Fourth String Quartet, that brings 1917 as the year of composition on its manuscript, but was premiered only in 1949. A brief musicological study was conducted about Villa-Lobos in the period. An investigation about symmetry and its aesthetic properties in visual arts was also proposed, revealing a great proximity between its visual and hearing perception, being symmetry related to stasis, and asymmetry to movement. In order to provide a basis for the methodological study of symmetry, three works composed by Béla Bartók, a composer well known for the use of inversional symmetry, were analyzed: Fourteen Bagatelles op. 6: no. 2 (1908); Eight Improvisations on Hungarian Peasant Songs op. 20: no. 3 (1920); and parts of the Third String Quartet (1927). The analysis of these works by both composers revealed the presence of several axes of symmetry, such as the structuring of these around meta-axes of symmetry, an analytical resource developed by the author of this work.

Die musiktheoretische Analyse setzt die Musik Bartóks mit der Beirachs und Shaws in Beziehung und fragt nach Schnittstellen in der Musik der drei Komponisten.

Denna uppsats består av en analys och en transkription av första satsen ur Béla Bartóks Sex rumänska folkdanser. Sviten komponerades i originalform för solopiano, men flera arrangemang för andra sättningar har sedan gjorts. Den kanske kändaste bearbetningen arrangerades 1925 av Bartóks vän Zoltán Sékely som ett kammarmusikverk för piano och fiol. Då min bearbetning är avsedd för gitarr och fiol så har jag valt att begränsa mig till Sékelys arrangemang där jag har lämnat fiolstämman intakt och gjort en transkription på hans pianostämma. I analysen tar jag upp de rytmiska, melodiska och harmoniska motiven ur ett konstnärligt och analytiskt perspektiv. Under skapandet av transkriptionen har jag stött på vissa instrumenttekniska problem. Jag förklarar i mitt arbete hur jag löst dessa och diskuterar olika alternativ som lett fram till mina beslut. Både analysen och transkriptionen är till stor del baserade på de erfarenheter jag erhållit från mitt musikliv och mina studier vid Kungl. Musikhögskolan men även från utvald litteratur som utgångspunkt. / <p>Bartok: Sex rumänska folkdanser</p><p>Gitarr: Viktor Ritchey; violin: Yngve Hilding</p>