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8/9/2019 Woodward Understanding Bartok v 4
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11
Understanding Bartok s
Bagatelle p 6 9
J M S WOO W R
The Baga te l l e s of 1908 stand
a t a c ruc i a l
po in t in
the
composi t ional evo lu t ion
o f Bela Bar tok . In the
in t roduc t ion
to a
1945
ed i t ion of h is ea r ly piano
music ,
Bartok recog
nizes t h a t th e B a ga te lle s inaugura te a new
t rend
of piano
wri t ing in my
ca ree r .
desc r ibes t h i s new
s ty l e
as
s t r ipped
o f a l l une ssen tia l d eco ra tive elements ,
de l i be r a t e l y using
only
th e most
r e s t r i c t ed t echn ica l
means . l
The
mot iva t ion
fo r
t h i s
s t y l i s t i c change
i s t r a d i
t i ona l l y c red i t ed to Bar tok s di scovery in 1907 of the
music
of Debussy and recogn ition of
the s imi l a r i t y
of i t s
re sou rces to those of Hungarian folk music . While the ex
i s t ing
l i t e r a t u r e of ten
r e f e r s
to
the
Baga t e l l e s ,
th e
cursory r e fe rences dea l
almost exc lus ive ly with those pieces
in which folksong in f luence i s ev iden t . The o th er p ie ces
are genera l ly l i s t ed as
i nnova t ive
or exp er imenta l and
dismissed a f t e r mention of th e o fte n- qu o te d b i tona l i t y
of
no. 1 and quar ta l harmony of no.
11.
2
In
f a c t ,
mention o f no. 9 is ra re ly found.
Examinat ion
of
t h i s
monophonic piece r evea l s
the
d i f f i cu l ty
in app l ica
t ion of
t r ad i t i ona l
to nal theo ry e ven though Bartok himse l f
named
the t ona l i t y
as E
b
Major ) . However,
t h i s
au thor has
found
th a t s ub s ta nt ia l i n s i gh t
i s
gained
in to
the i n t e rna l
s t r uc t u r e of
the
p iece
when
i s co nsid ere d as a represen
t a t i v e o f t h a t ca tego ry of
ea r ly twen t ie th -cen tu ry
music
1Quoted
in Benjamin Suchoff , Essays on Bela Bar tok
London: Faber and Fab er , 1 97 6) , pp. 432-3.
2
An
important
ana lys i s of
one of these o t h e r p i e c e s
8)
i s to be
found in
Al len
For te , Contemporary
Tone-St ruc tures
New
York: Columbia
Univers i ty Pres s ,
1955) ,
pp. 74-90.
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12
INDIANA T ORY REVIEW
c al le d a to na l.
3
Much o f the d i f f i c u l t y in unders tanding
t h i s
compl ica ted
music has been
overcome
with the r ecen t
development o f the
unordered p i t ch -c l a s s se t concept
by
Al
len
For t e .
4
While u sua l ly app lied to compos i t ions from
Schoenberg s
s choo l ,
the
concept
wi l l
be
seen
here
to
o f
fe r valuab le
ass i s t ance
in unders tand ing the music of
Bar tok .
PRINCIPAL MOTIV
I n i t i a l examinat ion of t h i s piece neces sa r i l y focuses on
the four -pc motive , which
so
obviously a r t i c u l a t e s
the th ree
la rge
formal
d iv i s i ons . This motive , dynamical ly and
agog ica l ly con t r a s t ed to sur rounding mate r i a l a t each ap-
Exampl e
1.
Pr inc ipa l Motive, m
70.
pearance ,
i s
found
in
bas ic
form
in the l a s t
measure .
The
appearances o f the p r inc ipa l motive mm 13-14, 37-38,
and
70 serve as c los ing caden t i a l pa t t e rn s fo r each o f
the
th ree
sec t i ons o f the form.
However, th e
importance
o f
t h i s
motive
can
be
shown to
extend fa r beyond t h i s obvious
sur face fea tu re . Comparison
with
measures 1 and 2 shows t h a t
the pr inc ipa l
motive
may be
cons ide red a contour
and rhythmic
d i s t i l l a t i on o f the
opening phrase
of
the
piece . This
two-measure
phrase ,
with
only minor modi f ica t ions , i n i t i a t e s each
pr inc ipa l
s ec t i on
of the form mm 1-4 ,
15-18,
39-43) . Thus, formal
coherence
i s s t reng thened
by
rounding
each o f the th re e s ec tio ns
3I t s
1908
c ompos itio na l d a te i s the same as t h a t
of
the
George Lieder Ope 15
of
Schoenberg,
which
i s gene ra l l y
regarded as h is ea r l i e s t a tona l work.
4Allen
For t e ,
The St ruc tu re of
Atonal
Music
New
Haven:
Yale
Univers i ty
Press ,
1973 .
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BARTOK S BAGATELLE OPe 6/9 13
Example
2. D i s t i l l a t i o n
of
Opening Phrase i n t o
P r i n c i p a l
Motive , mm. 1 - 2 .
/
/
/
3/
>
___
].
4
ti .,
V
[
lti
..d-
A
...
f
l:3
with b a s i c
motivic
m a t e r i a l s .
An
even more p e r v a s i v e s i g n i f i c a n c e o f t h e p r i n c i p a l mo
t i v e i s d i s c o v e r e d
when unordered
pc
s e t a n a l y s i s i s ap
p l i e d . The f i n a l two v er s i o ns o f t h e motive both analyze as
pc s e t 4-16, 0 , 1 , 5 , 7 ) . In a d d i t i o n , each o f th e s e two
m otiv ic o ccurren ces i s preceded by th e pc t h a t forms 4-16
in i n v e r s i o n ) with t h e f i r s t t h r e e motivic p c s . The f i r s t
motive p r e s e n t a t i o n does n o t ,
however ,
r e v e a l 4-16 d i r e c t l y ,
a l t h o u g h ,
as
i n
the
o th er o cc ur re nc es ,
i s
preceded
by
th e
pc wh ic h fo rms an i n v e r t e d 4-16.
The
4-23
fo rmed
by t h e
motive in mm. 13-14 i s n o t s t r u c t u r a l in t h i s
work.
Numerous a d d i t i o n a l o c c u r r e n c e s o f
4-16
pc s e t s in t h i s
p i e c e w i l l be d i s c u s s e d l a t e r in t h i s p a p e r .
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14 INDIANA THEORY
REVIEW
Example 3. Motivic
4-16
Presen ta t ions .
Largo
J
It II
2
... 7
t)
I
;/1
,.
: ~
1
.
c ~
l
\:.I
i
I
~ b ~ ~
(q)l=t
-
-
Molto sostenuto
J J
j
\ :I
I
A3
,
, 9
- -
4
~
>
>
-
-
-
non 1 it
.
I
t
-
.
.
y
I
•
1 -1
q I O ~
...
+J
--------
Molto
sostenuto .J : J
I
A/l.
/
.
/3, _
-1r : \
..
.
.
, t
t/
=
r
f
pesante
l
~
bi
l
. k:-
K
., .-.4-
.
c
4 23
X 1...__
-.,-
__ ---,-JIX
C3 5
j
i} IO
I
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BARTOK S BAGATELLE,
OPe 6/9
15
OPENING PHRASE
Examining th e b eg in nin g of th e p i e c e , we
f i n d
in the
opening two-measure
phrase
and i t s
modif ied
r e p e t i t i o n a l l
of the
pc
s e t s
t h a t
a r e
to
be
s ig n if ic a n t s tr u c tu r al
e l e
ments . T e t r a c h o r d s
formed
by
cont iguous
p c s
a r e
shown
i n
Example 4.
Example
4.
T e t r a c h o r d s
Formed
by
Contiguous P c s ,
mm. 1 - 4 .
Allegretto grazioso
J:
so
3
f \
/4c:::-
3-
:::
\
..
ct.
.....
V
;
I
V
:;ji
n
J.,.
.
<
(
:::-
:::>.
A----9
A
==
==
I I
q u
( ,1,/ ,Of
I I I
S,II,I
li I-II
(2, 5./
The f i r s t two measures p r e s e n t s i g n i f i c a n t pc
s e t s
4-26
and
4-19 as
s u r f a c e , cont iguous u n i t s . In the
r e p e t i t i o n
p r e s e n t e d in mm.
3-4, Bar tok
r e t a i n s
th e
i n i t i a l
t e t r a c h o r d
but m o d i f i e s the f i n a l one by expanding the
l a s t
i n t e r v a l
from
a
minor
s i x t h to a
minor
s e v e n t h .
While
t h i s m o d i f i c a
t i o n m a i n t a i n s the i d e n t i t y o f
t h e
phrase by rhythm and con
t o u r ,
t h i s s u b t l e
change a l s o r e s u l t s
i n
the appearance o f
t h e
4-16
t e t r a c h o r d ,
whose
importance has
a l r e a d y
been
e s t a b l i s h e d . Of more
s i g n i f i c a n c e
i s t h e o b s er va ti o n t h a t
t h e 4-16 in measure
4 i s
a t the same
p it c h l e v el
as
t h a t o f
t h e f i n a l measure
of th e
p i e c e see
Example
1 . This
i n
t e r v a l l i c change a l s o
t r a n s f o r m s
the e n t i r e melodic
phrase
mm. 3-4 i n t o
pc s e t
8-16, th e complement
o f
t h e
4-16 j u s t
mentioned.
Another
l e v e l o f
pc s e t
a n a l y s i s
i n vo lv es t h e e x t r a c t i o n
o f t h o s e p c s s i g n i f i c a n t
due
to p o s i t i o n ,
l e n g t h ,
a c c e n t ,
r e c u r r e n c e , o r s i m i l a r
c r i t e r i a .
A
s e t
a n a l y s i s
o f mm. 1-4
r e v e a l s
i n i t i a l o c c u r r e n c e s o f s i g n i f i c a n t
pc
s e t 4-20. One
example o f 4-19 s e r v e s to
connect
the two p h r a s e s
by
i n
volving
p c s
i n a l l
fo ur m ea su re s. The 4-24 occurrence
i s a
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16
INDIANA THEORY REVIEW
h i n t toward th e who le -to ne r i c h s e c t i o n s which
occur
l a t e r
in the p i e c e .
Example 5.
E x t r a c t i o n
o f S ig n i f i c an t P c s , mm
1-4 .
At t h i s
p o i n t
should
be
observed
t h a t
t h e
comparison
between the p r i n c i p a l motive
and opening
phrase
shown i n
Example 2
goes
beyond the contour s i m i l a r i t i e s d i s c u s s e d .
Tetrachord 4-16 i s expressed
by
both
the
p r i n c i p a l
motive
and the
p c s e x t r a c t e d
in Example
2. The
s u b s t i t u t i o n o f
E
b
f o r E
as
i n d i c a t e d
by t h e d o t t e d l i n e
r e v e a l s
pc
s e t
4-20,
another s i g n i f i c a n t s e t . )
This
type o f
background
e q u i v a l e n c e i s
found th roughout
t h e p i e c e ,
i n s u r i n g a
c o h e r e n t and
u n i f i e d
s t r u c t u r e .
At an
even more concealed
background l e v e l ,
th e
pc s e t
8-22 i n
mm 1-2 c o n t a i n s t h r e e 4 - 1 9 s ,
two
4 - 2 0 s , and four
4 - 1 6 s .
The
pc s e t 8-16 in mm 3-4 c o n t a i n s s i x 4 - 1 6 s ,
t h r e e
4 - 1 9 s ,
and
two 4 - 2 0 s .
Although
some
o f
t h e s e
do
n o t
appear obvious on the s u r f a c e , B a r t o k s
c h o i c e o f
s e t s
t h a t
c o n t a i n t h e s e
p a r t i c u l a r
t e t r a c h o r d s
i n
such
g r e a t
numbers
i s
s i g n i f i c a n t .
A few
o f t h e concealed s e t s a r e
shown
in
Example
6.
S e c t i o n 2
of
th e
p i e c e begins i n mm 15-16 with the
same
p h r a s e
t h a t
was
found in
mm 3-4.
This
p h r a s e , i t s e l f
a
m o d i f i c a t i o n
o f
mm 1 - 2 , i s
v a r i e d
s l i g h t l y i n the
fol lowing
two
measures mm 1 7 - 1 8 ) . The
lowering
of th e f o u r t h
pc
from
C
to
C r e s u l t s in the changing o f
s e t
4-26,
8 , 1 1 , 1 , 4 ) ,
to
4-19 ,
4 , 8 , 1 1 , 0 ) .
The
lowering
of a l l four
f i n a l
p c s by
a minor
second
obviously r e t a i n s the
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BARTOK S BAGATELLE
Pe
6/9
Example
6. Concealed
T e t r a c h o r d s ,
mm 1 4 .
17
t e t r a c h o r d 4 16
but
a l s o
c r e a t e s
4 19
0 , 1 , 4 , 8 ) ,
from
t h e
second
through the
f i f t h
p c s .
The
s i g n i f i c a n t
t e t r a c h o r d s
a r e d e t a i l e d
in
Example
7.
Example
7.
Signi
f i c a n t
T e t r a c h o r d s , mm
15 18.
I/f-,, I,K/ I
if If:
C/ l/( i f)
1
f 9 (0/ , ; ,8)
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18
INDIANA
THEORY
REVIEW
olto sostenuto
The th i rd and f i n a l major
d iv i s ion
o f th e piece beg ins
in
mm
39-40 with ye t ano the r modifica t ion o f the o r i g i na l
ph rase ,
d i f fe r ing from mm
17-18
by
onl¥ two p c s .
By
low ering the
second
and e igh th pc s from G to G the f i r s t
t e t r achord
(which
had
been 4-19)
becomes
I 4-20,
(4 , 7 , 11 , 0 ) ,
and
the
s i gn i f i c an t pc s B, D F , and G form 4-20 ,
(6 , 7 , 11 , 2 ) . A modif ied sequence
of the
f i n a l th r ee pc s o f
th e
phrase
may be expla ined by i t s
leng then ing o f the 4-20
t e t rachord
in to
the
fol lowing
measure
(m. 41) . In
add i t i on ,
cons i s tency
i s mainta ined
in comparison with
mm
15-18 by
th e
presence o f a
4-19
te t rachord disp layed
by
agog ica l ly
s i gn i f i c an t pc s , beginning with
th e
motiv e h ea rd in measure
38. Thus, 4-19 , (10 ,11 ,2 ,6 ) , s o l i d i f i e s a
f ive-measure
seg-
ment
mm.
37-41) and br idges two major
sec t ions
(I I
and
I I
I)
•
Example 8. S ign i f i c an t Tet rachords , mm 37-41.
11
Pr inc ipa l
Notive
Sect ion
I n i t i a l
Phrase
11 d i f i ed
Sect ion
~
: Modified
Sequence
of
m
40
The fol lowing measures conta in the opening phrase fo r the
f i r s t
t ime
a t
a t r an s po si t io n le ve l othe r than
th e
o r i g i na l .
While the
choice
of t ra n sp os i t io n leve l
can
be most ob
vious ly
expla ined by
th e t r ad i t i ona l down a pe r f ec t f i f th
ope r a t i on , is s ig n if ic an t t h a t t h i s t r anspos i t i on l eve l
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BARTOK S BAGATELLE, OPe
6/9
19
and
h i n t s
a t
the
4-16
m a t e r i a l s
which fo l low.
The
preceding t h r e e
p c s F , B,
expresses a
4-16 t e t r a c h o r d
t e t r a c h o r d s which
permeate
the
new
pc E,
when taken
with th e
and C, forms 4-16, 1 1 , 0 , 4 , 6 ) .
The,
t r a n s p o s i t i o n
in
mm
42-43
i s
e x a c t
fo r
two
measures
u n t i l
the
f i n a l
t h r e e p c s a r e sequenced . Here mm.
44-45
two
d i f f e r e n t
m o d i f i c a t i o n s express 4-16 s e t s . This
type o f s e t
usage
i s c h a r a c t e r i s t i c o f th e next s e v e r a l
mea su res, a s i n d i c a t e d in Example
9.
Example 9.
S i g n i f i c a n t
T e t r a c h o r d s ,
mm
43-50.
¥· Gt ~ q I , 2 .
4 q
10 /1
l.J
Over
a 12-measur e span mm. 39-50 , t h e f i n a l t r i c h o r d
o f
the phrase i s found numerous t imes a t v a r i o u s
t r a n s p o s i t i o n
l e v e l s
and i s modified
as to p i t c h
and
rhythm. While
th e
choice
o f
i n d i v i d u a l
t r a n s p o s i t i o n l e v e l s
and
m o d i f i c a t i o n s
may
seem to be i n s i g n i f i c a n t ,
s e t a n a l y s i s
r e v e a l s an o v e r -
a l l
f e a t u r e
which
s t r e n g t h e n s
the s t a b i l i t y and c o n s i s t e n c y
of
t h i s l e n g t h y
s e c t i o n . The
i n i t i a l p c s
o f
each o f t h e s e
t r i c h o r d s
form
the
s e t 4-19,
6 , 7 , 1 0 , 2 ) . Amazingly, th e
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20
INDIANA THEORY REVIEW
pa t te rn may be seen to extend back in to Sect ion I I by two
measures mm. 37-38) ,
unfolding
t h i s t e t r achord over a span
of
fourteen
measures .
In add i t ion
to loca l se t
occurrences ,
fu r the r se t uni ty
i s found
in
t h i s
a rea o f
the piece
when s ix teenth-note
dyads
fol lowing each
o f
the
jus t -d i scussed
t r i chords are examined.
Taking the f i r s t pi tches of
each dyad
in measure
46 D ,G)
and th e c or re sp ondin g
pi tches
in
mm. 47-48 G,
C
with
those
of
measure
49
D,
F )
revea ls 14 - 1 6 , 0 ,2 ,6 ,7 .
Measure 49
D, F ) and mm. 50-53 A, C ) produce 4-20, 1 ,2 ,6 ,0 , and
the dyad of mm.
50-53
A, C ) and
E,
G of measure 54 form
another
s e t
of s imi l a r type,
14 - 2 0 , 1 ,4 ,8 ,9 . A de t a i l
o f
the ext raordinary s e t complexi ty of t h i s area of the p iece
i s
given
in
Example 10.
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Example
10.
Te tr acho rda l Se ts
{mm.
37-5
4
}.
t f ~ / q (/0)/1./ 2, ,, )
I
t
r
-;r 3/
7/0/
I I
I I
O
.
o
t
f
O
>
t
L
L
t
I
-
- 1
7f ff
=
fI
I 1
, i
I
I
t f -ZO
l
j
O./f
J
1
I
I
~ . I ( I I , O / 7 ~ )
I-to
(if;S ,9;O) I
I I I I I I I I
I
- t 0
(( .J
/( z )
It Z
0 /
0
0/ 7) I
I I I
I
J
=
J j)JT
I I
I
if
.
/(o
,q,l
10 Z)
1-)
I
I
Molt
I
I
I
I
I I I
- I I
g
f f i I
a I Is I
If Jq :J,7)/O)2)
__o s o s t e n u t o ~ -
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22
INDIANA T ORY R VI W
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BARTOK S BAGATELLE, O P.
6/9
23
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24 INDIANA
TH ORY
REVIEW
The f i n a l
few
measures
br ing
the piece to
a
c lose with
a
re tu rn
of the
pr inc ipa l
motive as has been mentioned
ea r l i e r .
Example 3 shows the 4-16 s e t occur rences within
t h i s motive . However, the
sense
of r e t u rn and f i na l i t y i s
g rea t l y
s t reng thened
by
th e
untransposed
re tu rn
in
mm
68-70
of mate r i a l s
found twice
e a r l i e r
mm.
3-4
and
mm
15-16 in
the opening phrase . Here,
mm
68-70, the
mate r i a l s
take a
markedly d i f f e r en t shape ,
involving a
rhythmic
mot ive
found
ea r l i e r
and
the
pr inc ipa l
mot ive .
I t wi l l be
remembered
t h a t the motive
was
determined to
be
a d i s t i l l a -
t io n o f th e opening phrase . The
mate r i a l s
o f mm 3-4 and
15-16
i nc lude an ove ra l l
8-16,
7 ,8 ,11 ,1 ,2 ,3 ,4 , and
con
t i guous s ta tements
o f
i t s
complement
4-16 , 2 ,3 ,7 ,9 and
4-26 , 8 , 11 , 1 , 4 . The acknowledgement o f
unordered
s e t s a l -
lows
us to discover in mm 68-69 the
same
4-26 , 8 , 11 , 1 , 4 ,
j u s t ment ioned .
The f ina l
measure r evea l s a
cont iguous
4-16 , 2 ,3 ,7 ,9 , al though in a
d i f f e r en t
shape and orde r
from
i t s ,
i n i t i a l
appearances .
The
ove ra l l
mate r i a l of these
f i na l measures
i s
determined to be the 8-16
found
e a r l i e r .
Example
11 i l l u s t r a t e s the re tu rn of these mate r i a l s .
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BARTOK S BAGATELLE OP. 6/9
Example
11.
Set Return mm 3-4 15-16 and
68-70.
3 NJ
IS
OVER LL SET PL CEMENT
25
The
preceding
discuss ion
has
centered
upon
the
ex is tence
in
t h i s
piece of one bas ic melodic idea , expressed in two
shapes
p r inc ipa l motive and opening
ph rase , and occurr ing
only a t c ruc ia l poin ts in the t r i p a r t i t e form. In
addi
t i on ,
the
s e t s t ruc tu re of these poin ts has been
cha rac t e r i zed by the ex is tence of only four bas ic
t e t r acho rds 4-16 4-26 4 -19 and 4-20 .
Completing
the
s tudy
of t h i s
piece by
examining the
i n t e r i o r of each sec
t i on , we uncover a
few
se t s no t
prev ious ly
found
and
a re
able to re f ine
our
view of the
o the r s
through t h e i r
re spec
t i ve
placement .
Sets
4-16
and
4-26
are
found
to
c on ta in s tro ng
formal
im -
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26
INDIANA
TH ORY
R VI W
p l i ca t ions
s ince
they appear a t
the
beginning
and
end of
the
three major sec t ions .
Example 12. Placement
of Pc Sets 4-16
and 4-26.
Mm
I I
15
I I I
39
70
4-16 1-4
8 12-13 15-18
37-38 40-49 58-60 64-70
4-26
1 3
15 50-54
67-69
Sets 4-19 and 4-20 suppor t the consis tency
and
cont inui ty
of the work,
as
revealed
by t he i r
p re sence t hrou gh o ut . They
are
found
in f i f t y o f
the
s ev en ty m ea su re s.
The
l a s t
few
measures o f
each
s ec t i o n
however,
a re c h ar ac te ri ze d
by the
absence of
these
two s i g n i f i c a n t s e t s .
Example 13. Placement o f Pc
Sets 4-19
and 4-20.
Mm
I I
15
I I I
39
70
4-19 1-5 8-12 15-18 23-27 29-30
38 6
58-62 65
4-20
1-5
8-12
15-16 23-26
29-33 39-54 60-61 64-65
The i n t e r io r
o f each sec t ion i s
charac te r ized
also
by
the
presence of
whole-tone
r ich passages, i . e .
se t s
3-6, 4-21,
5-33, and 6-35. Example 14
i l l u s t r a t e s the
manner in
which
a whole-tone se t ex i s t s
in
conjunct ion
with
other s t ruc tu ra l
se t s of
t h i s
piece .
The placement o f these whole- tone
r ich
passages
i s
d ia -
gramed
in
Example
15.
In order
to
complete the
se t ana lys is
of the piece two
add i t iona l al though scarce ly
used
se t s must
be
mentioned.
The
oc ta tonic
se t s
4-3, 4-28,
and
8-28
are
found,
as
well as
s e t
4-11. Their placement
i s
shown in Example 16.
Example
17 of fe r s an
overview o f
motiv ic
sur face fea tures
of the work. In
addi t ion
to basic motivic mater ia l already
discussed
three smal l
mot iv ic uni t s are
found
to be
s ign i f i c a n t .
I t wil l be
not iced
t h a t
s e t
placement
suppor ts
the
ever-expanding three sect ion form shown in Example 17,
as well
as adding to the con t inu i ty
fac to r
necessary
to
any
m usi ca l c om pos it io n . Example
18 summarizes
the ove ra l l
se t
placement of s ig n if ic a nt s et s in the work.
Final ly
one fundamental d i f f i c u l ty in
se t ana lys is
of
t h i s piece has
been
suggested e a r l i e r t h a t
i s
expla ining
the
F
which
occurs
as
the
four th
motivic
pc
in
measure
14.
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BARTOK S BAGATELLE OP. 6/9
27
Example 14. Whole tone Set
5 33
Combined with
Others .
Example 15.
Whole tone
S e t s .
m
1 15
39 70
3 6 5 33
4 21 6 35 4 5 19 22 29 36 49 57 62 63
Example
16.
Sets
4 3 4 28
8 28
and
4 - 1 l .
m 1
15
39
70
4 3 4 28
8 28
6 7
18 21
4 11
12
28 32
67 69
An
overview o f the work however helps p r e s e n t one p o s s i b l e
answer to t h i s q u e s t i o n .
The
importance o f the i n i t i a l and
f i n a l p c s o f
each
s e c t i o n i s obvious . Any
formal
s e c t i o n
can
be viewed
simply
a s
movement o f the f i r s t
p i t c h through
o t h e r s
t o the l a s t . Here a n a l y s i s o f the t h r e e such
s i t u a t i o n s r e v e a l s t h a t the i n i t i a l
p i t c h
o f each s e c t i o n i s
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Example 7
Motivic Flacement
tv
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otive P ~ .
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BARTOK S BAGATELLE OP.
6 9
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I
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30
INDI N T ORY REVIEW
B and
tha t
the
f ina l
p i t ches fol low
in
a
down- in- f i f ths
progress ion .
Example
19.
I n i t i a l
and Fina l Pi tches o f Sec t ions .
This l og i ca l and
pred i c t ab l e
movement toward
E
b
which
Bartok named as ton ic of t h i s piece) es tab l i shes the p lace
o f F. I t
i s
ce r t a i n l y more than co inc iden ta l ,
however ,
t ha t
the
four p c s
o f Example 18 form the
s e t
4-16,
(10 ,11 ,3 ,5) ,
whose primary
s ign i f i cance
in
t h i s work has
a l ready
been
es tab l i shed .
In
conc lus ion ,
unordered
pc s e t ana lys i s has
demonstra ted
s t ruc t u r a l s ign i f i cance in t h i s piece
on
seve ra l d i f f e r ing
leve l s and
seems to
ca s t
doubts
toward
the exper imenta l
or
immature
na ture
o f
t h i s
Baga te l l e .
Rather ,
i s
a
t i gh t
ly c on str uc te d a to n al work
whose
bas ic pr inc ip les o f con
s t ruc t ion
a re
ca r e fu l l y
conceived.
UTHOR S NOT
Much
o f
the prepara t ion
fo r t h i s
paper was made poss ib le
by a g ran t
from the Nat ional Endowment fo r
the
Humani t ies .
The
author wishes to
thank
Allen For te
fo r
h is
guidance
in
preparing the
bas ic
in fo rmat ion .
BIBLIOGR PHY
For t e , Allen .
Contemporar¥
Tone-S t ruc tures . New York:
Columbia
Univers i ty
P re ss , 1955.
The St ruc tu re of Atonal
Music.
New
Haven:
Yale Un iv ers ity P re ss , 1973.
Suchoff ,
Benjamin.
Essa¥s on Bela Bartok .
London:
Faber
and Faber ,
1976.
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3
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