BartÓk’S last works: A theory of tonality and modality

Abstract

Abstract Bartók’s ‘Harvard Lectures’, first published in 1976, provide the basis for a theory of the composer’s tonal and modal usage, which is particularly applicable to his final works. Supported by evidence from Bartók’s last folk music writings the theory defines four means of tonal or modal identification, all relying on the principle of notational consistency. Related questions of modulation and tonal hierarchy are also explored, thus making the theory sufficiently comprehensive for an analytical implementation.