Thesis (M.M.)--Boston University. PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.

The thesis discusses the following three works composed by Bartok between 1922 and 1938 : Sonata no. 2 for Violin and Piano, Rhapsody no. 1 for Violin and Piano and "Contrasts" for Violin, Clarinet and Piano. Details relating to Bartok's compositional style in the three chamber works are investigated, with particular reference to the role of the piano. The piano writing is not innovative, but the traditional boundaries are extended by means of the melodic idiom, harmonies and rhythms. The thesis considers traceable musical influences viz. folk music and the influence of other composers; form and the tonal-contrapuntal fabric, rhythm and meter, and performance considerations. The value of Bartok's own recordings is addressed with regard to a critical evaluation of Bartok's own interpretation, the importance of the precisely notated scores, the controversial Bartok tempi, the application of rubato and broken chord figurations and Bartok's views on pedalling, articulation and ornamentation. Examples of all the above-mentioned aspects are traced in the three works concerned, and the pianistic style and dynamics and the interaction between the piano and the other instruments are discussed. The three works are compared and Bartok's development as composer of chamber music is traced through this comparison. The existence of Bartok's own interpretation of the Sonata, Rhapsody and "Contrasts", is of particular value to the study and serves as a main point of reference regarding the performance aspect. Using these recordings as a basis, the thesis considers the works from a pianist's point of view and insights are offered into possible problematic areas in performance, in relation to the piano part as well as the ensemble. The knowledge acquired through the preceding analysis of the works assists in a better understanding of the works and ensures an ultimately more successful performance. / Thesis (M.Mus.)-University of Natal, Durban, 1990.

The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.

Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music, notwithstanding tonally camouflaging surface details, clearly had a tonal foundation which in many respects is a reaction to the emerging atonalism of Schonberg. Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k employed to obscure tonicisation embrace double-degree constructions, quartal formations, chords of addition and omission and other irregular constructions. Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic root movement. Through an application of the Riemann function theory expanded by Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase Strauss cadences or closes) becomes apparent within an expanded tonal product. The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century manifestation of traditional tonality's primary tenets. / Musicology / M.Mus.

Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music, notwithstanding tonally camouflaging surface details, clearly had a tonal foundation which in many respects is a reaction to the emerging atonalism of Schonberg. Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k employed to obscure tonicisation embrace double-degree constructions, quartal formations, chords of addition and omission and other irregular constructions. Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic root movement. Through an application of the Riemann function theory expanded by Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase Strauss cadences or closes) becomes apparent within an expanded tonal product. The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century manifestation of traditional tonality's primary tenets. / Musicology / M.Mus.