Bartók, Hungary, and the renewal of tradition : case studies in the intersection of modernity and nationality
著者
書誌事項
Bartók, Hungary, and the renewal of tradition : case studies in the intersection of modernity and nationality
(California studies in 20th century music, 5)
University of California Press, c2006
大学図書館所蔵 全6件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 283-292) and index
内容説明・目次
内容説明
It is well known that Bela Bartok had an extraordinary ability to synthesize Western art music with the folk music of Eastern Europe. What this rich and beautifully written study makes clear is that, contrary to much prevailing thought about the great twentieth-century Hungarian composer, Bartok was also strongly influenced by the art-music traditions of his native country. Drawing from a wide array of material including contemporary reviews and little known Hungarian documents, David Schneider presents a new approach to Bartok that acknowledges the composer's debt to a variety of Hungarian music traditions as well as to influential contemporaries such as Igor Stravinsky. Putting representative works from each decade beginning with Bartok's graduation from the Music Academy in 1903 until his departure for the United States in 1940 under critical lens, Schneider reads the composer's artistic output as both a continuation and a profound transformation of the very national tradition he repeatedly rejected in public.
By clarifying why Bartok felt compelled to obscure his ties to the past and by illuminating what that past actually was, Schneider dispels myths about Bartok's relationship to nineteenth-century traditions and at the same time provides a new perspective on the relationship between nationalism and modernism in early-twentieth century music.
目次
Acknowledgments Introduction 1. Tradition Rejected: Bartok's Polemics and the Nineteenth-Century Hungarian Musical Inheritance 2. Tradition Maintained: Nationalism, Verbunkos, Kossuth, and the Rhapsody, Op. 1 3. Tradition Transformed: "The Night's Music" and the Pastoral Roots of a Modern Style 4. Tradition Challenged: Confronting Stravinsky 5. Tradition Transcribed: The Rhapsody for Violin No. 1, the Politics of Folk-Music Research, and the Artifice of Authenticity 6. Tradition Restored: The Violin Concerto, Verbunkos, and Hungary on the Eve of World War II Notes Bibliography Index
「Nielsen BookData」 より