Bela Bartok

Research Paper on Bela Bartok. By Jibin Parayil Thomas (2011B4A7628G) Introduction Bela Bartok (1881-1945) is regarded as a key innovator of the twentieth-century medicine. He is widely known for compositions powerfully influenced by his federation of tribes medical specialty studies, and for his activities as a concert pianist, music editor and teacher. The works of Bela Bartok atomic number 18 generally approached from either of two hypothetic premises.The first being an extension of traditional western art music that has preceded him (particularly the expanded harmonic resources which emerged during the Romantic musical period), the other being from Bartoks own look into the folk music of Europe. It has been said that through this research, Bartok was able to free himself from the coercive rule of the major and minor keys, leading eventually to a bleak conception of the chromatic scale, every tone of which came to be considered of equal observe and could be used freely an d independently.Bartok was not noted for his use of 12-tone concepts per se, plainly his search for harmonic freedom did parallel the concepts of the 12-tone composers of his time. His music rarely displays the uniform vocabulary that would prove a set-theory approach to be worthwhile. There are certain pitch collections that do appear consistently in his work. Bartok achieved something that no one had before his time, the symbolic handshake between East and atomic number 74 synthesis, a seamless blending of two sources into a single call.Bartok was a acquaintanceable ethnomusicologist who wrote and lectured on his areas of research into the cultural music of Europe in general, and of Hungary in particular. (Ethnomusicologyis defined as the study of social and cultural aspects of music and dance in local and global contexts). The research paper comprises tierce subsections the first explores Bartoks general philosophy on life, as it evolved at bottom the turbulent political and cultural environment in which he grew up.Focusing on his major works the second section identifies the innovative characteristics of his musical style within the context of the diverse genres in which he composed. The third section examines the wide variety of critical and analytical responses to his compositions and his performances. 1-Bartoks background and ontogeny Bartoks family reflected some of the ethnic diversity of the country. His mother Paula Voit Bartok ,was ethnically German,though she speak Hungarian fluently, his father,Bela Sr. considered himself thoroughly Hungarian,though his mother was from a Serbian family. Although Bartoks musical upbringing was purely German ,parts of his background leaned towards Hungarian nationalism. few of Bartoks most important musical colleagues were the members of the Waldbauer-Kerpely String Quartet,who came together in 1909 specifically to perform Bartoks and Kodalys first string quartets,and the composers and musicians of the newfound Hungarian Music Society.The turn of the twentieth century,which marks the beginning of Bela Bartoks musical career,witnessed a Hungarian society divided from the point of visual sense of its musical taste into three distinct layersthe upper classes which included the nobility,the urban financiers,industrialists and bourgeoisie turned to the west for their musical needsthe gentry and the urban middle class found satisfaction I the music of capital of Italy bands and in popular art songst was only the agrarian folk who lived with its folksongs and musical customs,solated from the rest of society.Bartok obtained his childhood impressions of Hungarian music from his provincial urban environment. At the age of four he could play with one flick on the piano the folk tunes familiar to him, about forty of them. When Bartok entered the academy of Music in Budapest in 1899,he had no better knowledge of his countrys folksongsthan that of the general public.