Class: MUSIC 314 Music After 1900
Instructor: Dr. Judith Kuhn
Term: Spring, 2011
Institution: University of Wisconsin-Milwaukee
This course will examine topics in art music of the twentieth century, in the context of the cultural and historical forces that shaped it. It is not a survey of twentieth-century music. Instead, we will use the course to examine current controversies and areas of emerging research, and to look at some works or composers in greater depth than would be possible in a survey course.
Abstract: During his lifetime, Bartók spent years collecting , analyzing and classifying regional folk music from eastern Europe and north Africa. To suggest Bartók’s compositional style was influenced by folk music is an understatement. He endeavored to find an authentic source of melodic material to create a distinctly Hungarian national style. In this paper we shall examine three short works by Bartók, each utilizing an existing Hungarian folk melody. For each, we shall examine how Bartók used the essential melodic characteristics of a folk melody to compose a harmonic setting around it. The pieces include Fourteen Bagatelles for Piano, Op. 6 No. 4 (1908), Eight Improvisations on Hungarian Folksongs, Op. 20 No. 4 (1920), and Forty-Four Duos for Violin, No. 28 (1928).
Sample content from the paper.
All examples from this paper can be heard on the following:
Joób, Árapád (producer). Pure Springs: Hungarian Folk Tunes and their Arrangements in Works by Bartok and Kodaly. Audio CD. Hugaroton HCD18252 (2002). available here