In the field of twentieth-century musicology, studies have emphasized the music of Bela Bartok from a strictly hannonic standpoint. While these studies have provided insight into harmonic manipulation and tonal language there has been little emphasis placed on the role of rhythm and how it relates to the development of Bartok’s music. This study provides an analysis and discussion of rhythmic manipulation, structure and contour of rhythmic motives in String Quartets Nos. I and 4. This analysis was influenced by the methods and philosophies created and discussed by Edward Cone, Emo Lendvai, and John Roeder, among others. I adapted Lendvai's harmonic diagrams to illustrate the rhythmic conflict in Bartok's music. In addition to expanding established analytical models and concepts, I have created original analytical concepts such as rhythmic environments, rhythmic· oppression, and confrontation to identify and discuss important musical events. This is a novel rhythmic rather than harmonic study which provides an original method of analysis that is inspired by the rhythmic life of Bartok's String Quartets and may be used to interpret other music of the twentieth century.
| Identifer | oai:union.ndltd.org:ucf.edu/oai:stars.library.ucf.edu:honorstheses1990-2015-1636 |
| Date | 01 January 2007 |
| Creators | Gargiulo, Catherine |
| Publisher | STARS |
| Source Sets | University of Central Florida |
| Language | English |
| Detected Language | English |
| Type | text |
| Source | HIM 1990-2015 |
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