1ShouldersofGiants
StandingontheShouldersofGiantsTheInfluenceofBach,BeethovenandDebussyonBélaBartók’s
CompositionalTechniques
DennisBelisle
UniversityOfTennessee,Knoxville
21January2019
AuthorNote
ThiscomprehensiveexamwaspreparedusingChicagoformatandinfulfillmentofthepromptprovidedbyDr.DavidBrunell.
2ShouldersofGiants
BélaBartókwasaHungarianpianist,teacherandcollectorofEasternEuropeanand
MiddleEasternfolkmusicaswellasbeingconsideredoneofthegreatestcomposersofthe20th
century.WithBartók,aswithvirtuallyeverycomposer,alineageofinfluencecanbetracedof
predecessorsthatinspired,provokedandpropelledthecomposer.Whilethismightbe
consideredacontinuationoftradition,Bartóktransformedtheseinfluencesintosomething
uniquelypersonal.1Groutwrites,“Bartók’sidealwastoexpress,intwentieth-centuryterms’
Bach’stextureofcontrapuntalfullness,Beethoven’sartofthematicdevelopment,and
Debussy’sdiscoveryofthesonorous(asdistinctfromthefunctional)valueofchords.”2When
speakingtoSergeMoreux,Bartokstates,“AgainandagainIaskmyself:Canonemakea
synthesisofthesethree(thatisBach,Beethoven,andDebussy)andmakeitalivingoneforthe
moderns?”3Throughresearchandscholarship,Iintendtomaketheargumentthatindeed,
BartókwasinfluencedbyBach,Beethoven,andDebussyinhiscompositionalprocess
expandingoneachofthesecomposers’particularcompositionaltechniques.
AlmosteverycomposerofthenineteenthcenturyregardedBeethovenasaleaderin
thecompositionofromanticmusic,buthisinfluencehadsufferedinthetwentiethcenturydue
totheextremereactionagainstthemusicoftheromanticera.InanessayauthoredbyBartók,
hestates,“Atthebeginningofthetwentiethcenturytherewasaturningpointinthehistoryof
modernmusic.TheexcessesoftheRomanticistsbegantobeunbearableformany.Therewere
composerswhofelt…thisroaddoesnotleadusanywhere;thereisnoothersolutionbuta
1BarbaraNissman,BartókandthePiano:APerformer'sView.Lanham,Md.:Oxford:Scarecrow,2002,199.2DonaldJayGroutandClaudeV.Palisca,AHistoryofWesternMusic.3dEd./withClaudeV.Palisca..ed.NewYork:Norton,1980.6873ToddCrow.BartókStudies.DetroitReprintsinMusic.Detroit,Mich:InformationCoordinators,1976.93
3ShouldersofGiants
completebreakwiththenineteenthcentury.”4However,Bartókowedandadmittedadirect
allegiancetoBeethoven.Bartok,speakinginhisownwords,presentedhisgeneralfeelings
towardsBeethovensaying“Inmyyouth,myidealofbeautywasnotsomuchtheartofBachor
ofMozartasthatofBeethoven.”5
AnimportantmethodofBeethoven’scompositionaltechniqueishisexpansiveand
imaginativetreatmentofshort,elementalmotivicideas.OnBartok’schoiceofthematic
material,Stevensremarksthat“Bartok’sthemesare…chosenfortheirmotivicrichnessandthe
possibilitiesoffragmentationandrecombination…themethodsareclearlyBeethovenian.”6At
theopeningofthefirstmovementofBeethoven’sStringQuartet,op.132,thecomposerutilizes
ashort,four-notethemeconsistingoftwosetsofminor2ndswithinacontourofadiminished
7th{fig.1}.Withinthesetwointervalsliethethematic,transitional,anddevelopmentaspects
oftheentiremovement{fig.2a–2c}.7InBartok’sstringquartets,thereliessimilarmotivic
material.IntheopeningofhisStringQuartetNo.4,Bartókusesafour-noteopeningconsisting
oftwosetsofminor2ndintervalswithinacontourofadiminished7th{fig.3}.Bartokusesthis
samedoubleminor2ndmotifinthefirst2barsofstringquartetno.3{fig.4}.Throughoutthe
ThirdQuartet,Bartókpullsdevelopmentmaterialfromtheseintervallicelements.8
ThestructuraldesignsofBeethoven’slatestringquartetsstemfromthedevelopmentof
smallmotivicideas.Throughmelodiccontour,rhythmand/orintervallicrelationships,
4BélaBartók,'TheInfluenceofPeasantMusiconModemMusic',Essays,ed.Suchoff,3405HalseyStevens,TheLifeandMusicofBélaBartók(London:OxfordUniversityPress,1967rev.ed.)231-326Stevens,1967,2617FrankSpinosa,BeethovenAndBartok:AComparativeStudyOfMotivicTechniquesInTheLaterBeethovenQuartetsAndTheSixStringQuartetsOfBelaBartok(Illinois:UniversityofIllinoisatUrbana-Champaign,ProQuestDissertationsPublishing,1969),30-318Spinosa,1969,120-121
4ShouldersofGiants
Beethovenusesthesesmallmotivicideasresultinginalineofmotivic-thematicgenerationin
whichthereiscontinuousphrasedevelopmentthroughoutthemovementsandeventheentire
quartetattimes.StevensremarksonBartok’smotivicdesignstating,“Characteristicthroughout
[theBartóksixquartets]isthemotivicwork—theconstructionofentiremovementsorofentire
worksfromminutemusicalfragments,constantlyvaried,extended,transformed…[Bartók’s]
motives,frequentlyoftwoorthreenotesonly,areincontinuousstateofregeneration.They
groworganically;theyproliferate;theevolutionaryprocessiskinetic.”9Thesmallmotiveused
inthedevelopmentofandconstructionofentiremovementsorwholeworkswascommonto
bothcomposers.
TheuseofmotivicfragmentsasostinatofiguresisanotherexampleofBeethoven’s
influenceonBartók.InBeethoven’sStringQuartetinFminor,op.95,thefirstfivenotesofthe
openingbarinmov.I{fig.5}reoccurfrequentlyasanostinatointheViolinII,ViolaandCello
partsthroughoutthemovement{fig.6a&b}.Thesametechniqueisfoundintheop.132of
Beethovenusingtheminor2ndmotivefoundinfigure1frommov.5asanostinatolaterinthe
movement{fig.7}.10ThissametypeofmotivicusecanbefoundinBartok’sFourthString
Quartetwhenthematerialfoundinthecellopartinm.7ofmov.I{fig.8}canbefoundinthe
innervoicesplayedinm.59asanostinato{fig.9}.TheFifthStringQuartetofBartókprovides
anotherexampleofthiswiththeopeningstatementofahalf-stepintervallicrelationshipin
mov.IVwhichisexpandedintoanostinatofigureforthecelloandviola{fig.10a&b}.11
9HalseyStevens,TheLifeandMusicofBélaBartók(London:OxfordUniversityPress,1967rev.ed.)17310FrankSpinosa,BeethovenAndBartok:AComparativeStudyOfMotivicTechniquesInTheLaterBeethovenQuartetsAndTheSixStringQuartetsOfBelaBartok(Illinois:UniversityofIllinoisatUrbana-Champaign,ProQuestDissertationsPublishing,1969),19311Spinosa,1969,194
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Thereiscompellingevidenceasidefromthatofthematicdevelopmentwhichsuggests
Beethoven’sinfluenceonBartók.Bartók’sThirdPianoConcertodrawsmanysimilaritiesto
Beethoven’sStringQuartetinAminor,op.132.InthesecondmovementoftheThirdPiano
Concerto,BartókmaterialisverysimilartoBeethoven’sOp.132MotoAdagiomovement{fig.
11a&b}.12Bóniswritesaboutthisrelationshipstating,“Bartókadoptsnotonlythemotivebut,
also,themethodofconstruction,contrastingchorale-likehomophonicpartswithimitative
ones.”13AnotherexampleofBeethoven’sinfluencecanbeseenintheopeningofBartok’sSixth
StringQuartet.ThesimilaritiesarestrikingwhencomparedtotheopeningofBeethoven’s
StringQuartet,Op.133.BothpiecesstartonG,lastfortenmeasureswithafermataseparating
thefirsttenmeasuresfromthenextentrance.Thisisfollowedbytwostatementsofthesubject
butarediminutionsofthesubjectasitappearsatthebeginning{fig.12a&b}.14
SeveralpiecesofevidencesuggestBartókwasinfluencedbytheworkofBeethoven.
Throughmotivicdevelopmentandsimilaritiesincomposition,aswellasfromBartók’sown
words,apictureispaintedofacomposerwhoadmiredhispredecessorandusedhis
compositionaloutputtoforgeameaningfulpathtowardfindinghisownvoice.ClaudeDebussy
wasalaterinfluenceonBartók.OfDebussy,Bartokstates,“Debussy’sgreatservicetomusic
wastoreawakenamongallmusiciansanawarenessofharmonyanditspossibilities.Inthathe
wasjustasimportantasBeethovenwhorevealedtousthemeaningofprogressiveform,and
asBachwhoshowedusthetranscendentsignificanceofcounterpoint.”15
12MarkA.Radice,“Bartok’sParodiesofBeethoven:TheRelationshipBetweenOpp.131,132and133andBartok’sSixthStringQuartetandThirdPianoConcerto,”MusicReview42(1981):255.13FerencBónis,"QuotationsinBartók'sMusic.AContributiontoBartók'sPsychologyof Composition,"StudiaMusicologicaAcademiaeScientiarumHungaricae5,no.1/4(1963):369.14Radice,1981,256.15SergeMoreux,BélaBartók.Paris:Richard-Masse,1955.
6ShouldersofGiants
Debussy’smusicwasbroughttotheattentionofBartókattheinstigationofZoltán
Kodályin1907.BothBartókandDebussywerefascinatedbymusicoutsidetheimmediate
Europeanheritage:folkmusic,plainchant,themusicoftheRenaissancemastersandJavanese
music.16ThereismixedscholarshipontheimpactthatDebussyhadonBartók’swriting.Cross
believesthatalthoughtherearemanypointsofcontactbetweenthemusicallanguagesofboth
composersincludingpentatonicism,modalityandoccasionalwhole-tonepassages,“Bartók
usedthesedevicesinanentirelypersonalmannerandarenotatallinfusedwithDebussy’s
styleasonewouldexpectiftheyhadbeenprimarilytheoutcomeofastudyofhismusic.”17
NissmanbelievesthattheFourDirges,op.9AbyBartók“arepureDebussy,reflectingthe
Frenchcomposer’suniqueapproachtocolorandhisindividualconceptoftimeandspace.”18
Nissman’sscholarshiponthesetwocomposersiswhereanattempttomakesomeconnections
betweenthesetwocomposerswillstart.
Indeed,whenlistenedtosidebyside,theFourDirgis(Quartrenénies),op.9AofBartók
resemblesthemoodandastheticofDebussy’sClairdelune{fig.13}.Nissmanstates,“fromthe
firstchordsoftheopeningdirge,evokingmemoriesofClairdelune,Debussy’spresenceis
overwhelming…thereisnodoubtthattheimpressionist’scanvaswasthemodelforthese
soundscapesandinspiredthepianisticcolorandpedaleffectsbytheperformer.”19Thispiece
revealssignificantconnectionswithDebussy’swork,bothwiththeuseofaFrenchtitleand
16AnthonyCross,"PortraitofDebussy.2:DebussyandBartók,"TheMusicalTimes108,no.1488(1967):126-127.doi:10.2307/953925.17Cross,1967,12718BarbaraNissman,BartókandthePiano:APerformer'sView.Lanham,Md.:Oxford:Scarecrow,2002,200.19Nissman,2002,206
7ShouldersofGiants
withtheprominentuseofpentatonicformations.20InseveralpiecesfromMikrokosmos,the
influenceofDebussyispresentasseeninDividedArpeggios(143)whichshowsDebussy’scolor
andpedalingtechniquefromhisTwelveEtudesof1915aswellasMinorSeconds,Major
Sevenths(144)whichemploysparallelchordsreminiscentofDebussy’s‘Pagodes’ofEstampes.
InBartók’sOutofDoorsforpiano,theimpressionistfourthpiece,MusiqueNocturnes,
incorporatesseveralstylisticfeaturesofDebussy’sPreludesforpiano{fig.14a&b}.21Bartók’s
stylisticcompositionalqualitiesshiftedaftertheintroductionofDebussy’smusicin1907.
WhetherthisshiftwasspecificallyDebussydrivenorwhetheritwasthefactthatboth
composershappentocrosspathsmusicallywiththeirinterestinHungarianpeasantmusic,itis
clearthatBartókappreciatedDebussy’simportanceincompositionandthatBartók’sown
compositionsreflectedthatappreciation.
TheinfluenceofDebussyandBeethovenhadatangibleeffectonBartókduringdifferent
stagesofhiscompositionaloutput.Nissmanstates,“WhereasLisztgaveBartókthenecessary
toolswithwhichtocrafthistrade,Bach,Beethoven,andDebussyprovidedhimwiththe
musicalmodels.”22InregardtotheinfluenceofJ.S.BachonBartók,thereislessscholarshipon
theinfluenceofBachonBartók’scompositionalstylethanthatofBeethovenandDebussy.
Bartók,whohadspokenaboutBachinaninterviewfrom1925,expressesthatthemusicofJ.S.
Bachwastobecomeamoreandmorefavoredpointofreferencethatgraduallyemergedfor
Bartók.Referringtohischosen[influence]modelinhiscommentsbyletteronPercyGrainger's
20ElliotAntokoletz,TheMusicofBélaBartók:AstudyofTonalityandProgressioninTwentieth-CenturyMusic,Berkeley,California:UniversityofCaliforniaPress,1984,321BenjaminSuchoff,BélaBartók:LifeandWork,Lanham,Md.:ScarecrowPress,2001,10622BarbaraNissman,BartókandthePiano:APerformer'sView.Lanham,Md.:Oxford:Scarecrow,2002,200.
8ShouldersofGiants
article"MelodyversusRhythm"publishedintheMusicalNews,Bartókwrites,
“[...]Ifeelanequaljustificationforbothkinds[RhythmandMelody]andIconsiderthe
mostperfectmusicalworkthatinwhichbothkindsareblended.Andthiswork,insofar
asmyknowledgeandconsciousnessgoes,isthatofJ.S.Bach.”
ThisstatementunmistakablyshowswhatgreatimportanceBartokassignedtotheproblem
itselfofauniversalmusicallanguagethathe,bythen,seemstohaveexclusivelyacknowledged
inJ.S.Bach'smusic.23WithBartok’scontributiontopianopedagogywithhiseditionofBach’s
Well-TemperedClavier,insofarasBartók’sknowledgeandunderstandingofBach’s
compositionaloutput,hewascertainlywellversedinthemusicofJ.S.Bach.
ThefirstexampleofBach’sinfluenceonBartók’scompositionaltechniquecanbeseen
inthecomposers’two-partcanonwriting.InBach’schoraleprelude,WirChristenleut,the
effectofthetwo-partcanonisthatofahazyandindefinitetonality.Incontext,thecanonat
theopeningofBartók’sFirstQuartetseemslikethatofBach{fig.15a&b}.24Next,theopening
barsofBartók’sCantataProfanafordoublemixedchorus,tenorandbaritonesoloists,and
orchestra,writtenin1930,wereinspiredbythebeginningportionofBach’sSt.Matthew
Passion{fig.16a&b}.25Bartókwasrecognizedasamasteroftheartofformalconstructionand
amasteroftheartofcounterpoint.26J.S.Bachwasthesuprememasterofcounterpointand
waswidelyrespectedinthefieldoftheformalconstructionofform.Certainly,withthisin
mind,Bach’sinfluenceonBartókwasimportanttothecomposer.
23LászlóVikárius,"BélaBartók's"CantataProfana"(1930):AReadingoftheSources."StudiaMusicologicaAcademiaeScientiarumHungaricae35,no.1/3(1993):30124BernardRands,“TheUseofCanoninBart6k'sQuartets,"TheMusicReview18(1957):185.25BenjaminSuchoff,"BélaBartók:TheMasterMusician,"MusicEducatorsJournal68,no.2(1981):37.26RobinHawthorne,“TheFugalTechniqueofBélaBartók,”TheMusicReview10(1949):277
9ShouldersofGiants
CounterpointmadeitsemphaticappearanceinBartók’scompositionaloutputasa
reactiontotheneoclassicaltendencyin1926.27InBartók’sNineLittlePianoPieces,BookIis
comprisedofaseriesoffourcontrapuntalexercisesálaBach,titledtheFourDialogues.These
Dialogues,specificallythefirstcanon{fig.17},canbecomparedtoBach’stwo-andthree-part
inventions.InBartók’smonumentalpianoworkMikrokosmos,thereexistsoneclearpieceof
evidencesuggestingBach’sinfluenceonBartók.Asthetitleimplies,HommageáJ.S.Bach,no.
79,adherestomanyattributesofthemusicofJ.S.Bach,composedinaclearcontrapuntalstyle
andreminiscentofthelittlepreludesofBach.Finally,SeibersuggeststhatBartók’sincreased
interestinBach,whichbeganinthe1920’s,culminatedinhisSonataforSoloViolinwhich
showsclearevidenceofBach’sinfluenceonthecomposer.Hestates,“indeeditisdifficultto
imagineanyonewritingaSoloViolinSonatatodaywithoutbeingconsciousofthegreat
exampleofBach.”28Bartok'swholecareerisalongingforcounterpoint...hisstudyofBach
helpedhimalthoughitcouldnotmakeupforthelackofaregular,carefullygradedtrainingin
counterpoint.29
WithBach,DebussyandBeethoven,Bartókfoundmastersofparticularcompositional
techniqueswhichheexploitedinhisownwaytocreateacanvasallhisown,transforminghis
influencesintosomethinguniquelypersonal.Whetherthecounterpointtechniqueshewasso
admiredforcamestrictlyfromBach,thethematicdevelopmenttechniquesstrictlyfrom
Beethovenortheuseofpentatonic,modalandwhole-toneformationsfoundinhismusic
27LászlóVikárius,"Bartók'sLateAdventureswith‘Kontrapunkt’,"StudiaMusicologicaAcademiaeScientiarumHungaricae47,no.3/4(2006):400.28MátyásSeiber,"BélaBartók'sChamberMusic."Tempo,no.13(1949):30.29LászlóVikárius,"Bartók'sLateAdventureswith‘Kontrapunkt’,"StudiaMusicologicaAcademiaeScientiarumHungaricae47,no.3/4(2006):410.
10ShouldersofGiants
strictlyfromDebussyisintheeyeofthebeholder.Throughscholarshipinthisessay,a
convincingargumenthasbeenmadetosuggestthatallthreeofthesecomposershadsome
influenceonBartók.FromBartókhimself
“Imuststatethatallmymusicisdeterminedbyinstinctandsensibility;nooneneedask
mewhyIwrotethisorthatordidsomethinginthisratherthaninthatway.Icouldnot
giveanyexplanationotherthanIfeltthisway,orIwroteitdownthisway…thisattitude
doesnotmeanthatIcomposedwithoutsetplansandwithoutsufficientcontrol.The
planswereconcernedwiththespiritofthenewwork…allmoreorlessinstinctively
felt.”30
Themetaphorofdwarfs‘standingontheshouldersofgiants’expressesthetruemeaningof
whatitistobeacomposer…discoveringtruthbybuildingonpreviousdiscoveries.BélaBartók
foundthattruthandnowhisshouldersaretheshouldersofagiant.
30BarbaraNissman,BartókandthePiano:APerformer'sView.Lanham,Md.:Oxford:Scarecrow,2002,1.
11ShouldersofGiants
FIGURES–MusicExamples
dim7th m2nd m2nd
Fig.1–BeethovenStringQuartet,Op.q32,mov.I,mm.1-4.
dim.7th dim.7th
Fig.2a–BeethovenStringQuartet,Op.132,mov.I,mm.9-10.{violinItrebleclef}
Dim.7th
Fig.2b–BeethovenStringQuartet,Op.132,mov.I,mm.247-250.{StandardStringquartetclefs}
12ShouldersofGiants
dim.7th dim.7th dim.7th
Fig.2c–BeethovenStringQuartet,Op.132,mov.IV,mm.40-44.{trebleclef}
m.2nd m.2nd dim.7th
Fig.3–BartokStringQuartetNo.4,mov.I,mm.1-2.
Fig.4–BartokStringQuartetNo.3,mov.1,mm.1-2TheintervalbetweenthetwonotesinthecelloandtheintervalbetweentheviolaandtheviolinIIconsistoftwominor2nd
13ShouldersofGiants
Fig.5–BeethovenStringQuartet,Op.95,mov.I,m.1.
Fig.6a–Exampleoffig.5asanostinatofigureplayedbytheviolainop.95,mov.I.{altoclef}
Fig.6b–Exampleoffig.5asaquasi-ostinatofigureplayedbytheviolinIIandViolainop.95,mov.I.{treble&altoclef}
Fig.7–BeethovenStringQuartet,op.132,mov.V–anexampleoftheviolinIIusingthematerialfromfig.1asanostinato.Usingtheintervalofam2nd.{trebleclef}
Fig.8–BartokFourthStringQuartet,mov.I.Thecellopartinm.7.{bassclef}
14ShouldersofGiants
Fig.9–BartokFourthStringQuartet,mov.I.Materialfromfigure8beingusedasanostinatofigure.{violinI&IItrebleclef}
Fig.10a–BartokFifthStringQuartet,mov.IV,m.1-2.{violinItrebleclef}
Fig.10b–BartokFifthStringQuartet,mov.IV,mm.64-66–anostinatofigureexpandedoutofthematerialinfigure10a.
15ShouldersofGiants
Fig.11a–BeethovenStringquartet,Op.132,MoltoAdagio.
Fig.11b–BartokThirdPianoConcerto,adagioreligioso
16ShouldersofGiants
Fig.12a–BeethovenStringQuartet,Op.133,Firstseveralbarsofmov.1.
Fig.12b–BartokSixthStringQuartet,Firstseveralbarsofmov.1.
17ShouldersofGiants
Fig.13a–Bartok’sFourDirges,op.9A,No.1.Theopeningfewmeasures.
Fig.13b–Debussy’sClairdelune.Theopeningfewmeasures.
18ShouldersofGiants
Fig.14a–ExcerptfromBartok’sMusiqueNocturnesfromOutofDoors.
Fig.14b–ExcerptfromDebussy’sPianoPreludes,X.
19ShouldersofGiants
Fig.15a–J.S.Bach.OpeningofChoralePrelude‘WirChristenleut’.
Fig.15b–BélaBartók.OpeningofFirstStringQuartet.
Fig.16a–J.S.Bach.OpeningmeasuresofSt.MatthewPassion.
20ShouldersofGiants
Fig.16b–BélaBartók.OpeningmeasuresofCantataProfana.
Fig.17–Measures1-5ofBartók’sFourDialogues,no.1fromNineLittlePianoPieces
21ShouldersofGiants
Fig.18–OpeningofBartok’sMikrokosmos,no.79.
22ShouldersofGiants
BIBLIOGRAPHY
Antokoletz,Elliott.TheMusicofBélaBartók:AStudyofTonalityandProgressionin Twentieth-centuryMusic.Berkeley,California:UniversityofCaliforniaPress,1984.
Bartók,Béla,andSuchoff,Benjamin.BélaBartókEssays.NewYorkBartókArchiveStudiesin Musicology;No.8.NewYork:St.Martin'sPress,1976
Bónis,F."QuotationsinBartók'sMusic.AContributiontoBartók'sPsychologyof Composition." StudiaMusicologicaAcademiaeScientiarumHungaricae5,no.1/4(1963):355-82. doi:10.2307/901555.
Cross,Anthony."PortraitofDebussy.2:DebussyandBartók."TheMusicalTimes108,no.1488 (1967):125-31.doi:10.2307/953925.
Crow,Todd.BartókStudies.DetroitReprintsinMusic.Detroit,Mich:InformationCoordinators, 1976.
Forte(Hsu),Madeleine.OlivierMessiaen,theMusicalMediator:AStudyoftheInfluenceof Liszt,Debussy,andBartók.Madison[N.J.]:FairleighDickinsonUniversityPress,1996
Grout,DonaldJay.,andPalisca,ClaudeV.AHistoryofWesternMusic.3dEd./withClaudeV. Palisca..ed.NewYork:Norton,1980
Hawthorne,Robin.“TheFugalTechniqueofBélaBartók,”TheMusicReview10(1949):277-85
"HowBélaBartókRedefinedClassicalMusic–StringsMagazine."AccessedJanuary17,2019. http://stringsmagazine.com/how-bela-bartok-redefined-classical-music/.
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Radice,MarkA.“Bartok’sParodiesofBeethoven:TheRelationshipBetweenOpp.131,132and 133andBartok’sSixthStringQuartetandThirdPianoConcerto.”MusicReview42 (1981):252-6.
Rands,Bernard.“TheUseofCanoninBartók'sQuartets,"TheMusicReview18 (1957):183-188.
Seiber,Mátyás."BélaBartók'sChamberMusic."Tempo,no.13(1949):19-31.http://www.jstor.org.proxy.lib.utk.edu:90/stable/942683.
23ShouldersofGiants
Spinosa,Frank.BeethovenAndBartok:AComparativeStudyOfMotivicTechniquesInThe LaterBeethovenQuartetsAndTheSixStringQuartetsOfBelaBartok.Illinois:
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Stevens,Halsey,andGillies,Malcolm.TheLifeandMusicofBélaBartók.3rdEd./Preparedby MalcolmGillies.ed.Oxford:NewYork:ClarendonPress;OxfordUniversityPress, 1993.
Suchoff,Benjamin.BélaBartók:LifeandWork.Lanham,Md.:ScarecrowPress,2001
Suchoff,Benjamin."BélaBartók:TheMasterMusician."MusicEducatorsJournal68,no.2 (1981):34-57.http://www.jstor.org.proxy.lib.utk.edu:90/stable/3395871.
Vikárius,László."BélaBartók's"CantataProfana"(1930):AReadingoftheSources."Studia MusicologicaAcademiaeScientiarumHungaricae35,no.1/3(1993):249-301.
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Vikárius,László."Bartók'sLateAdventureswith"Kontrapunkt"."StudiaMusicologica AcademiaeScientiarumHungaricae47,no.3/4(2006):395-416. http://www.jstor.org/stable/25598270.
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