Tonality during the common-practice era carried conventions that ultimately manifested formal schemas. Post-tonal composers’ diverging treatment of form escapes the generality of such schemas, and the relative lack of formal methodology for post-tonal music has left a considerable gap in the literature. When writers do discuss form in post-tonal music, the discourse generally focuses on form within a single composition, a single composer’s output, or at best a narrow school of musical style or philosophy. This thesis posits a concept that I call formal synthesis as a basic principle of form applicable to a broad range of musical styles, genres, and eras. Formal synthesis is a process that combines two or more previous musical passages into one musical passage. This organizational principle covers a broad spectrum of formal possibilities, varying by formal function, structural level, and method. In chapter one, I summarize previous discussions of form in post-tonal music and define the categorizations of formal synthesis. The following chapters refine the concept of formal synthesis through analyses of Steve Reich’s Drumming, Béla Bartók’s Piano Suite op. 14, and Thomas Adès’ Asyla. These composers belong to three different generations and nationalities, and the pieces belong to distinct styles and genres.

L’emprunt au folklore constitue une des nombreuses manipulations effectuées par le créateur du début du XXe siècle, à partir d’un matériau préexistant à son œuvre. Ces manipulations sont sous-tendues par de multiples processus identitaires, qui souvent détournent le regard de l’analyste, de l’œuvre vers l’ensemble de ses connotations contextuelles et symboliques. S’interroger sur les conséquences, tant stylistiques que techniques, de ces phénomènes, ne semble pas aller de soi. En réexaminant la structure tonale d’œuvres, avec et sans emprunt, composées par Béla Bartók entre 1903 et 1920, via un modèle d’inspiration néo-riemannienne permettant une interprétation de leur parcours tonal sur la définition d’unités triadiques, cette étude propose de réévaluer, au-delà de leur tonalité, des répertoires encore trop souvent considérés comme séparés par une ligne de faille assez peu perméable : celle entre romantisme et modernité. / Borrowing from folklore constitutes one of the numerous operations done by early 20th century creators from a material pre-existing to their works. Those operations are subtended by multiple identity-searching processes that often shift the eyes of the analyst away from the work to the whole of its symbolical and contextual connotations. Questioning oneself about the consequences, be they stylistic or technical, of those phenomena doesn’t seem to be taken for granted. By reexamining the tonal structure of works, with or without borrowings, composed by Béla Bartók between 1903 and 1920, through a pattern of Neo-Riemannian inspiration, enabling an interpretation of their tonal distances based on the definition of triadic unit. This study aims at reassessing, beyond their tonality, corpuses still to often considered as split apart by a rather impervious flaw line, that between romanticism and modernity.

This dissertation uses Béla Bartók's 1943 Concerto for Orchestra as a focal point for investigating conceptual models of music based on early twentieth-century notions of organicism. In particular, this project brings together two traditions--one structural, one narrative--in an attempt to integrate motivic allusion and programmatic discourse, and places this piece within a metadiscourse of musical 'Fate' stories that continually point back to Beethoven. Based largely on the work of George Lakoff, chapter 1 is an overview of modern category theories that rejects objectivism and establishes a philosophical view of meaning that is shaped by our conceptual models. Chapter 2 is a comparison of the writings of Schoenberg and Bartók that invoke organicist values of musical development and variation. Stemming from Bartók's claim that Schoenberg's Op. 11 showed composers the "new ways and means" of modern composition, this chapter speculates on potential influences and involves a reinvestigation of Schoenberg's Op. 11, No. 1. Chapter 3 examines the difference between strict hierarchical models of music and metonymic reductions. Following a critique of Fred Lerdahl's recent attempts to apply his Chomskian prolongational model to post-tonal and atonal music, this chapter traces the integration of motivic parallelism and key architecture in tonal music as a primary organizing feature of musical form, foreshadowing their use by Bartók as replacements for the structural functions of harmony. Chapter 4 investigates the relationship of musical motives and post-Beethovenian narratives of fate/overcoming and fate/death in music by Bizet, Verdi, Tchaikovsky, and Richard Strauss, providing a context for Bartók's motivic and programmatic allusion to--and transformation of--that very tradition. Chapter 5 draws the material from the previous chapters together in a structural-programmatic reading of the Concerto for Orchestra that situates it as a transformation of the evolving traditions that inform it. / text

Obwohl für uns die wissenschaftliche Bearbeitung der Universal- Briefe im Vordergrund steht, hat man immer wieder auch an eine Edition gedacht und darauf gehofft. Da das ganze Material bereits per Computer erfasst wurde, wenn auch in einer noch nicht überprüften ersten Fassung, ist die Möglichkeit einer CD-ROM-Ausgabe durchaus vorstellbar. Aber ich halte auch eine traditionelle Edition immer noch für wichtig. Ich möchte im Folgenden verschiedene Möglichkeiten einer Edition in Buchform skizzieren.

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.

Cette thèse est consacrée à la réception de la figure et de l’œuvre de Béla Bartók (1881-1945) en Italie, dans la première moitié du XXe siècle. Opérée depuis un point de vue musicologique, l’analyse de l’influence bartókienne dans les œuvres de nombreux compositeurs italiens (d’Alfredo Casella à Bruno Maderna) invite à reconsidérer l’évolution du modernisme artistique en Italie, ainsi que les fondements de la poétique du musicien hongrois – informée par le nationalisme magyar, la « pureté » du folklore paysan et l’utopie de la « musique nocturne ». Par ailleurs, l’étude des formes de transmission et de critique de l’un des compositeurs canoniques du siècle dernier soulève des enjeux plus généraux, qui relèvent de l’histoire culturelle : la continuité entre modernisme artistique et totalitarisme, les formes et les significations de la résistance culturelle, les rapports entre musique et diplomatie, la construction du mythe antifasciste de Bartók. À bien des égards, la « vague bartókienne » qui s’affirma en Italie pendant la période de la guerre froide fut l’aboutissement de la fusion entre le mythe de Bartók – ce « musicien de la liberté » dont parlait le critique Massimo Mila – et le mythe de la renaissance nationale. Une fusion qui avait ses origines dans le paysage sonore de la dictature fasciste et de la Resistenza. / This thesis focuses on the reception of Béla Bartók’s music and figure in Italy during the first half of the twentieth century. From a musicological standpoint, the analysis of Bartók’s influence on the works of several Italian composers (from Alfredo Casella to Bruno Maderna) invites us to reconsider the evolution of artistic modernism in Italy, as well as the foundations of Bartók’s poetics – which is informed by Hungarian nationalism, the “purity” of peasant folklore, and the utopia of “night music”. Furthermore, the study of the forms of transmission and criticism of one of the canonical composers of the last century raises broader issues concerning cultural history, such as: the continuity between artistic modernism and totalitarianism, the forms and meanings of cultural resistance, the relation between music and diplomacy, and the construction of the antifascist myth of Bartók.This thesis argues that the Bartókian Wave, which emerged in Italy during the early Cold War period, was the result of the fusion between the Bartók myth – i.e. the “musician of freedom” celebrated by the critic Massimo Mila – and the myth of national regeneration: a fusion that had its origins in the soundscape of Fascist dictatorship and the Resistenza.

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

Made available in DSpace on 2016-12-08T17:06:41Z (GMT). No. of bitstreams: 1 Allan.pdf: 6015471 bytes, checksum: c9502b248f8def57196d096754d4ef5e (MD5) Previous issue date: 2012-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is an analytical study of Béla Bartók s String Quartet nº 3, looking for axes of symmetry that works as pitch organizers. This research is bounded with the Eastern Europe s traditional music done by Bártok, an essential influence to the creation of the composer s musical language. So on, this work begins with a research about the motivations that led Bartók to the peasant music, focusing on the information given by him. This lead to the analysis of folk songs collected by Bartók and his contemporary researchers used as examples by him on his papers, resulting in the finding of tunes composed around an axis of symmetry. In equal measure, such symmetrical formations are found in pieces from others modern composers, mainly those who sought to oppose tonality on their works. It was used musical examples from Stravinsky, Mussorgsky, Berg and Webern, together with others Bartók s works. Although the theory about inversional symmetry is not too recent, with origin on the second part of XX century, most of the analyses are created through methods created by the analyst himself. So, this work directs to a methodological option for the of analysis axes of symmetry, generated with the collecting of used elements from several authors. This work contributes too with the expansion of the axes of symmetry theory by bringing it to the structural level, so that the axes could be symmetrically related to each other. Several symmetrical axés were found on the analysis of Bartók s Third Quartet, a piece considered among his most abstracts works. On this context, the axes of symmetry provide a kind of synthesis of folk music and modern music, that can represent East and West on music / Esta dissertação contém um estudo analítico do Quarteto de Cordas nº 3 de Bela Bartók, a fim de encontrar eixos simétricos que atuam como organizadores das alturas. Tal busca está conectada com o estudo da música tradicional do Leste Europeu efetuado por Bartók, influência essencial para a formulação da linguagem musical do compositor. Para tanto, o trabalho é iniciado por uma pesquisa das motivações que conduziram Bartók à música dos camponeses, dando privilégio às informações dadas pelo próprio autor. Esta pesquisa conduziu à análise de canções coletadas por Bartók ou pesquisadores a ele contemporâneos presentes nos exemplos de canções folclóricas em seu legado escrito, resultando na descoberta de melodias compostas em torno de um eixo de simetria. Na mesma medida, tais organizações simétricas são igualmente encontradas em peças de compositores modernos, principalmente daqueles que procuravam distanciamento da tonalidade em suas obras. Para tanto, foram utilizados pequenos trechos de Stravinsky, Mussorgsky, Berg e Webern, juntamente com excertos de outras obras de Bartók. Apesar de que a teoria a respeito da simetria inversional não seja muito recente, tendo sua origem na segunda metade do século XX, as análises partem de metodologias criadas pelo próprio analista. Assim, este trabalho apresenta uma opção metodológica para a busca de eixos simétricos, formada a partir do agrupamento de elementos utilizados anteriormente por diversos autores. Este trabalho contribui também com a expansão da teoria da simetria inversional para o nível estrutural, de forma com que os eixos também podem se relacionar simetricamente entre si. Diversos eixos simétricos foram encontrados durante a análise do Terceiro Quarteto de Bartók, uma obra considerada entre as mais abstratas do compositor. Neste contexto, os eixos simétricos se constituem como uma síntese da música folclórica com a música moderna, representações do Leste e Oeste na música

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.