Elliott Antokoletz
Biographic Data
| ID | 1077347 |
|---|---|
| NAME | Elliott Antokoletz |
| GIVEN NAMES | Elliott |
| FAMILY NAME | Antokoletz |
| SIGNATURE | ANTOKOLETZ E |
| AFFILIATIONS | The University of Texas at Austin |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Tonality or Atonality in Bartók’s Sonata for Violin and Piano no. 2? From Folk Modalities to a Twelve-tone Language
External political circumstances as well as Bartók’s personal activities in the early 1920s were decisive in contributing to the expansion of the basic principles of his musical language. Bartók’s Second Sonata for Violin and Piano (1922) may be considered a focal point in his evolution toward ultramodernism. Concomitant with this tendency, both Sonatas for Violin and Piano of this period have become paradigmatic of the controversial notion set f…
Extensão diatônica e compressão cromática como princípio básico unificador na Música para Cordas, Percussão e Celesta de Bartók
Este artigo de Elliott Antokoletz (1942-2017) foi apresentado em um ciclo de cinco conferências que pronunciou, em outubro de 2009, como professor visitante na Universidade de São Paulo, em um curso de pós-graduação sobre a música de Béla Bartók. Após a visita, Antokoletz autorizou a publicação das conferências em tradução para o português. Entretanto isso só foi possível ser feito em etapas, em função da dificuldade de produção, tanto das traduç…
Lansky, Paul
Albrecht, Georg von
Pisk, Paul A(madeus)
Bela Bartok
This long-awaited, authoritative account of Bartok's compositional processes stresses the composer's position as one of the masters of Western music history and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music. For Bela Bartok, composition often began with improvisation at the piano. Laszlo Somfai maintains that Bartok composed without preconceived musical theories and refused to teach comp…
Transformations of a Special Non-Diatonic Mode in Twentieth-Century Music
Music of Bela Bartok
The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartók's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.
[Letter from Elliott Antokoletz]
Béla Bartók, A Guide to Research
The Music of Béla Bartók. A Study of Tonality and Progression in Twentieth-Century Music
Bartok Analysed
Bartok Analysed
The Music of Béla Bartók. A Study of Tonality and Progression in Twentieth-Century Music
[Letter from Elliott Antokoletz]
Béla Bartók, A Guide to Research
Music of Bela Bartok
The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartók's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.
Transformations of a Special Non-Diatonic Mode in Twentieth-Century Music
Bela Bartok
This long-awaited, authoritative account of Bartok's compositional processes stresses the composer's position as one of the masters of Western music history and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music. For Bela Bartok, composition often began with improvisation at the piano. Laszlo Somfai maintains that Bartok composed without preconceived musical theories and refused to teach comp…
Lansky, Paul
Albrecht, Georg von
Pisk, Paul A(madeus)
Extensão diatônica e compressão cromática como princípio básico unificador na Música para Cordas, Percussão e Celesta de Bartók
Este artigo de Elliott Antokoletz (1942-2017) foi apresentado em um ciclo de cinco conferências que pronunciou, em outubro de 2009, como professor visitante na Universidade de São Paulo, em um curso de pós-graduação sobre a música de Béla Bartók. Após a visita, Antokoletz autorizou a publicação das conferências em tradução para o português. Entretanto isso só foi possível ser feito em etapas, em função da dificuldade de produção, tanto das traduç…
Tonality or Atonality in Bartók’s Sonata for Violin and Piano no. 2? From Folk Modalities to a Twelve-tone Language
External political circumstances as well as Bartók’s personal activities in the early 1920s were decisive in contributing to the expansion of the basic principles of his musical language. Bartók’s Second Sonata for Violin and Piano (1922) may be considered a focal point in his evolution toward ultramodernism. Concomitant with this tendency, both Sonatas for Violin and Piano of this period have become paradigmatic of the controversial notion set f…
Art (9 works) · Musicology and Musical Analysis (8 works) · Diverse Musicological Studies (6 works) · Bartok (5 works) · Literature (5 works) · Musical (5 works) · German Literature and Culture Studies (3 works) · Computer Science (2 works) · Music History and Culture (2 works) · Philosophy (2 works)