Abstract
Bartok's musical language may be approached from two points of view—one, in which the concepts and terminology are derived from folk-music sources, and the other, in which the concepts and analytical tools are derived from certain currents in contemporary music. The present essay is intended to demonstrate, through a study of selected pieces from the 14 Bagatelles for piano, opus 6 (1908), that the assumptions underlying both approaches are essential in understanding the evolution of Bartók's musical language, and that fundamental relationships exist between the diatonic folk modes and various abstract pitch formations commonly found in contemporary compositions.
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