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Thesis (M.M.)--Boston University

Wong Hiu Lam. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 104-109). / Abstracts in English and Chinese. / Abstract --- p.iv / Abstract (Chinese Translation) --- p.v / Acknowledgements --- p.vi / Chapter Chapter 1 --- Introduction --- p.1 / Overview of Bartok's six quartets --- p.1 / Literature review --- p.4 / Objectives --- p.9 / Chapter Chapter 2 --- "Karpati, Antokoletz and Wilson's Analytical Approaches" --- p.11 / Karpati's idea of mistiming --- p.11 / Antokoletz's interval cycle and interval ratio --- p.13 / Wilson's interest in structural hierarchy --- p.18 / Chapter Chapter 3 --- "The Fifth Quartet, First and Fifth Movements" --- p.23 / "The Fifth Quartet, first movement" --- p.24 / Form --- p.24 / Pitch centres --- p.26 / Fourths --- p.28 / "The Fifth Quartet, fifth movement" --- p.35 / Form --- p.35 / Pitch centres --- p.37 / Fourths --- p.37 / Symmetries --- p.41 / Chapter Chapter 4 --- "The Fifth Quartet, Second and Fourth Movements" --- p.45 / Bartok's analysis of the Fifth Quartet --- p.45 / Other analyses --- p.46 / Bartok's formal analysis of the second and fourth movements --- p.47 / An extended introduction --- p.48 / Similarities between the second and fourth movements --- p.49 / Prominent intervals and pc sets --- p.49 / Instrumental sequence --- p.53 / Juxtaposition and superimposition of(0123)s and (0167)s --- p.53 / Juxtaposition and superimposition: melody and chordal accompaniment --- p.54 / Thematic kinship --- p.55 / Texture --- p.57 / Chapter Chapter 5 --- "Figuring Thirds in the Fifth Quartet, Third Movement" --- p.59 / Formal structure of the whole quartet and the third movement --- p.59 / Motive a and third-structure --- p.60 / "Definition of ""third-structure""" --- p.61 / Arch-shaped melodies formed by thirds --- p.61 / Third-structures and the diatonic collection --- p.62 / Third-structures and the octatonic collection --- p.62 / Third-structures and the chromatic collection --- p.67 / Referential collections and formal structure --- p.67 / Chapter Chapter 6 --- "The Sixth Quartet, First and Fourth Movements" --- p.69 / Existing Literature --- p.69 / Formal structure --- p.71 / Mesto themes of the two movements --- p.73 / An unusual finale --- p.75 / Fourths --- p.79 / Chapter Chapter 7 --- "Duality in the Sixth Quartet, Second Movement" --- p.84 / Karpati and dual thirds --- p.87 / Dual centres B and G# --- p.88 / (0347)s --- p.90 / Relationship between duality and form --- p.92 / Chapter Chapter 8 --- "The Sixth Quartet, Third Movement" --- p.94 / Chapter Chapter 9 --- Conclusion --- p.100 / Selected Bibliography --- p.104

The purpose of this paper is to present the non-traditional theo- retical techniques of Erno Lendvai and introduce the application of these techniques in a detailed analysis of the Fifth String Quartet of Bela Bartok. The theories of Lendvai are based on the Fibonacci Series, a series of integers which he assigns to consecutive half-step gradations of the chromatic scale. The numbers 1,2,3,5,8... are manipulated to produce two important cornerstones of his theory, namely mi-pentatony and alpha harmonies. According to Lendvai, mi-pentatony, directly related to the Hungarian folksong idiom, is the basic scale used by Bartok. Alpha harmonies are derived by the intervallic relationships created through the use of Fibonacci numbers. Erno Lendvai's theories, although not widely known, are a partial answer to the analytical problems Bartok's music presents. His con- cepts allow for tertian chords as well as non-tertian harmonies. By basing his theories on the intervallic relationships which comprise the folksong idiom, Lendvai's theories can account for much of Bartok's music. Lendvai's theory, in contrast to traditional tonality, not only allows the tritone interval between roots of chords, but relies heavily upon it. The axis system and relative chord structures establish polar relation- ships which give the same function to chords whose roots are a tri- tone apart. Through the use of polar exchange, it is possible to shift the tonal center by six key signatures, yet never alter the function of the two polarly related chords. The analysis portion of this paper is designed to give a struc- tural, tonal and harmonic overview of each movement, giving particular attention to three areas: pentatony; relative, modally related and substitute chord harmonies; alpha harmonies. These areas assume varying degrees of importance depending on the particular movement. The theories of Lendvai are too new and untried to place them into any kind of perspective at this time. Lendvai's own writings are concerned more with a few specific pieces of Bartok's works which conform neatly to golden section principles, clear cut use of models (1:2, 1:3, 1:5), or alpha harmonies. His writings avoid thses portions of Bartok's music which defy explanation using this methodology.

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...

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published_or_final_version / Music / Master / Master of Philosophy