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Fabricating Editions: Discrepancies in the Way We Perform BartoK's Viola Concerto Today
Fabricating Editions: Discrepancies in the Way We Perform BartoK's Viola Concerto Today
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211151451
- ISBN
- 9798382584287
- DDC
- 780
- 저자명
- Patrick, Kayla.
- 서명/저자
- Fabricating Editions: Discrepancies in the Way We Perform BartoKs Viola Concerto Today
- 발행사항
- [Sl] : The University of Wisconsin - Madison, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 47 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
- 주기사항
- Includes supplementary digital materials.
- 주기사항
- Advisor: Chisholm, Sally.
- 학위논문주기
- Thesis (D.M.A.)--The University of Wisconsin - Madison, 2024.
- 초록/해제
- 요약In July 1945, Bela Bartok began his work on a viola concerto commissioned for the famed American violist William Primrose. The events prior to this commission and the work done by the composer up until his death is the focus of much debate and discussion. An even greater topic of polarity is the work of Tibor Serly, a close friend and former pupil of Bartok who received the job of reconstructing the viola concerto following the death of the composer. Bartok's Viola Concerto continues to live among the infamous unfinished works in instrumental music, and it creates grounds for great debate over how to handle the unfinished work of a late composer.With a rising sense of apprehension with the most accessible version of Bartok's Viola Concerto, scholars began to search more deeply for the true intention of the work. Different editions began to surface, displaying different interpretations of what Bartok left behind. The two most notable of these editions were created by Peter Bartok in collaboration with Nelson Dellamaggiore and Paul Neubauer, and by Hungarian violist Csaba Erdelyi. Peter Bartok, the son of Bela Bartok, worked closely with Paul Neubauer in an effort to create a more authoritative and accurate version of the Concerto. Csaba Erdelyi published an edition of the work that is intended to serve as a basis for practical performance. In this doctoral project, I present a critical guide to the three most prevalent editions of Bartok's Viola Concerto: namely those published by Tibor Serly, Peter Bartok, and Csaba Erdelyi, setting them side-by-side in order to provide a clear and concise resource for violists who wish to study the concerto. Rather than propose the best edition as a result of my own analysis, I present all relevant material that will help a performer to make an informed decision about which edition is suitable for their performance.This project not only sheds light on the variations and nuances in these editions but also to pay homage to the rich history and legacy of Bela Bartok's Viola Concerto. This critical guide contributes to the ongoing discussion surrounding the Concerto, allowing performers to approach it with a deeper understanding of its complex history and the interpretive choices available to them. This project serves as a testament to the continuing significance of Bela Bartok's Viola Concerto and aims to empower performers to engage with this masterwork in a more informed and artistic manner.
- 일반주제명
- Music
- 일반주제명
- Music history
- 일반주제명
- Music theory
- 키워드
- Viola concerto
- 키워드
- Composer
- 키워드
- Performance
- 기타저자
- The University of Wisconsin - Madison Music: Performance
- 기본자료저록
- Dissertations Abstracts International. 85-11A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■020 ▼a9798382584287
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■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aPatrick, Kayla.
■24510▼aFabricating Editions: Discrepancies in the Way We Perform BartoK's Viola Concerto Today
■260 ▼a[Sl]▼bThe University of Wisconsin - Madison▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a47 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-11, Section: A.
■500 ▼aIncludes supplementary digital materials.
■500 ▼aAdvisor: Chisholm, Sally.
■5021 ▼aThesis (D.M.A.)--The University of Wisconsin - Madison, 2024.
■520 ▼aIn July 1945, Bela Bartok began his work on a viola concerto commissioned for the famed American violist William Primrose. The events prior to this commission and the work done by the composer up until his death is the focus of much debate and discussion. An even greater topic of polarity is the work of Tibor Serly, a close friend and former pupil of Bartok who received the job of reconstructing the viola concerto following the death of the composer. Bartok's Viola Concerto continues to live among the infamous unfinished works in instrumental music, and it creates grounds for great debate over how to handle the unfinished work of a late composer.With a rising sense of apprehension with the most accessible version of Bartok's Viola Concerto, scholars began to search more deeply for the true intention of the work. Different editions began to surface, displaying different interpretations of what Bartok left behind. The two most notable of these editions were created by Peter Bartok in collaboration with Nelson Dellamaggiore and Paul Neubauer, and by Hungarian violist Csaba Erdelyi. Peter Bartok, the son of Bela Bartok, worked closely with Paul Neubauer in an effort to create a more authoritative and accurate version of the Concerto. Csaba Erdelyi published an edition of the work that is intended to serve as a basis for practical performance. In this doctoral project, I present a critical guide to the three most prevalent editions of Bartok's Viola Concerto: namely those published by Tibor Serly, Peter Bartok, and Csaba Erdelyi, setting them side-by-side in order to provide a clear and concise resource for violists who wish to study the concerto. Rather than propose the best edition as a result of my own analysis, I present all relevant material that will help a performer to make an informed decision about which edition is suitable for their performance.This project not only sheds light on the variations and nuances in these editions but also to pay homage to the rich history and legacy of Bela Bartok's Viola Concerto. This critical guide contributes to the ongoing discussion surrounding the Concerto, allowing performers to approach it with a deeper understanding of its complex history and the interpretive choices available to them. This project serves as a testament to the continuing significance of Bela Bartok's Viola Concerto and aims to empower performers to engage with this masterwork in a more informed and artistic manner.
■590 ▼aSchool code: 0262.
■650 4▼aMusic
■650 4▼aMusic history
■650 4▼aMusic theory
■653 ▼aViola concerto
■653 ▼aInstrumental music
■653 ▼aComposer
■653 ▼aPerformance
■690 ▼a0413
■690 ▼a0208
■690 ▼a0221
■71020▼aThe University of Wisconsin - Madison▼bMusic: Performance.
■7730 ▼tDissertations Abstracts International▼g85-11A.
■790 ▼a0262
■791 ▼aD.M.A.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17161833▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.


