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YUJA WANG & Sta.CECILIA Ac.O ANTONIO PAPPANO dir. BARTOK Concerto Nº2 I / II HIGH END SOUND
Seeded by jorgeliebermannjx on 11 Apr 2012
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Author: jrgliebermann216
AUDIO ONLY (HIGH QUALITY) Paul Wilson lists as the most prominent characteristics of Bartók's music from late 1920s onwards the influence of the Carpathian basin and European art music, and his changing attitude toward (and use of) tonality, but without the use of the traditional harmonic functions associated with major and minor scales (Wilson 1992, 2--4). Although Bartók claimed in his writings that his music was always tonal, it rarely uses the chords or scales of tonality, and so the descriptive resources of tonal theory are of limited use. George Perle and Elliott Antokoletz focus on alternative methods of signaling tonal centers, via axes of inversional symmetry. Others view Bartok's axes of symmetry in terms of atonal analytic protocols. Richard Cohn argues that inversional symmetry is often a byproduct of another atonal procedure, the formation of chords from transpositionally related dyads. Atonal pitch-class theory also furnishes the resources for exploring polymodal chroma
Artist: Yuja Wang
Conductor: Antonio Pappano
Presenter: Jorge Liebermann