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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
Fabricating Editions: Discrepancies in the Way We Perform BartoK's Viola Concerto Today

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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  
Instrumental music
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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■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.

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