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*090 $c780.9439$dBAR
*091 $ca$f0$heng
*1001#$aAntokoletz, Elliott$_14290000
*24500$aThe music of Bela Bartok : a study of tonality and progression intwentieth-century music
*260 #$aBerkeley$bUniversity of California press$c1984
*300 #$a342 s.$bmus.
*336 #$atekst$0http://rdaregistry.info/termList/RDAContentType/1020$2rdaco
*337 #$auformidlet$0http://rdaregistry.info/termList/RDAMediaType/1007$2rdamt
*338 #$abind$0http://rdaregistry.info/termList/RDACarrierType/1049$2rdact
*500 #$aLitt. henv. s. 331-333
*520 $aThe 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.
*599 $a0330
*60014$aBartok, Bela$d1881-1945$_12043600
*650 4$aBiografier$_10033200
*650 4$aHistorie 1900-$_10100100
*650 4$aKlassisk musikk$_12111400
*650 4$aKomponister$_10022300
*650 4$aMusikk$_10004000
*650 4$aMusikkomposisjon$_11966200
*650 4$aMusikkritikk$_12146900
*650 4$aTeori$_10137000
*650 4$aTonalitet$_14290100
*650 4$aUngarn$_10583900
*7400#$aA study of tonality and progression in twentieth-century music
^
