The rarely performed Piano Quintet in C major (1904) by Béla Bartók is a major work in the chamber music genre although its individuality and significance seem to have gone unnoticed in the scholarly literature. The piece represents the composer’s early attempts to break from the traditional compositional standards of his contemporaries as well as his early attempts to include folk elements in his works. This document presents a detailed history of the piece and the circumstances surrounding its composition as well as a brief history of the genre of the piano quintet. The author focuses on the musical influences that Bartók acquired during his musical education and how they influenced the Piano Quintet in addition to the folk origins so intrinsic to the Hungarian language and culture that also appear in the piece. A detailed analysis of the slow movement is included due to the extraordinary way in which it simultaneously looks backwards and markedly forward.

Béla Bartók (1881-1945), one of the twentieth century’s most significant composers, is also well known as an ethnomusicologist and concert pianist. However, Bartók’s work as a pedagogue and as an editor has received relatively little scholarly attention, despite famous pupils and despite his preparation of numerous critical and educational editions of his own and others’ works. While the critical editions are few, a significant number of Bartók’s editions of piano works have an educational purpose; these editions contain highly detailed performing indications and hold substantial potential for investigating Bartók’s ideas on the performance of works by other composers. Bartók edited nineteen piano sonatas by Haydn for educational purposes between 1911 and 1920. Bartók’s edition of Haydn’s Piano Sonata Hob.XVI:49 in E-flat Major is compared with both the first edition and the facsimile of the manuscript, with a focus on articulation, pedaling, dynamics, fingering, and other significant markings such as indications of expression and ornamentations. This document examines Bartók’s editorial input in this edition as an exemplar of his stylistic principles, and explores the value of Bartók’s Haydn editions as performing editions by critically examining both his editorial contributions and possible execution issues. This study thus provides an understanding of Bartók’s stylistic ideas regarding classical style, and promotes consideration of these editions for contemporary performers.

Despite Bartók's lasting international fame, some of his works remain unjustly lesser-known. One of the pieces that still resides in relative obscurity is his Violin Concerto No.1—a gem of the violin repertoire that must be brought to the broader public's attention. The fact that the concerto was hidden definitely contributed to its little–known status at first. However, the most important cause for the lack of enthusiasm to tackle this terrific work lies in the unorthodox demands it puts on the violinist. The purpose of this paper is to provide musical and technical suggestions based on Bartók's performing style and on his requirements for performer, which will help to create a more persuasive interpretation of the piece. The guide covers the questions of character, articulation, dynamics, and other performance aspects, and also provides practical suggestions, such as fingerings and bowings. It is hoped that this study will help violin performers to gain additional knowledge and insight into this composition and encourage more frequent performances of it.

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...

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.

Den 26:e november 1944 uruppfördes Béla Bartóks sonat för soloviolin, en sonat som verkligen visar vad det innebär att spela violin. Med sina fyra kontrasterande satser tar den oss från g-moll till G-dur under loppet av knappt 30 minuter. Däremellan får man, om framförandet går som planerat, höra mer eller mindre alla toner och klanger som går att spela på en fiol. I detta konstnärliga examensarbete har jag undersökt styckets uppbyggnad, koppling till folkmusiken samt hur man som violinist kan tolka det på bästa sätt. Med hjälp av källor i form av böcker, artiklar samt noter från andra verk av såväl Bartók som andra tonsättare har jag kunnat identifiera de musikaliska byggstenar som behövs för att kunna spela solosonaten på ett intressant sätt. / <p><strong>Den klingande delen är arkiverad.</strong></p>

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