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Expanded tonality in three early piano works of Béla Bartók (1881-1945)

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.

Identiferoai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:unisa/oai:umkn-dsp01.int.unisa.ac.za:10500/16102
Date11 1900
CreatorsBrukman, Jeffrey James
ContributorsVan der Linde, B. S.
Source SetsSouth African National ETD Portal
LanguageEnglish
Detected LanguageEnglish
TypeDissertation
Format1 online resource (xiii, 179 leaves)

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