Bela Bartok! |s third movement of his fourth string quartet written in 1928 has a highly engaging and emotive effect on the listener as Bartok! |s harmonic world reveals a highly sonorous and atmospheric sound-scape. It is difficult to identify any fundamental scale, mode or tonal center. However, based on Bartok! |s reputation in the world of ethnomusicology and his penchant for intermingling folk music and traditional western harmonic practices, it would not be any surprise to find that through set theory analysis modes play a functional in the tonal structure of the movement. This analysis focuses on the pitch class collections obtained from segmenting the movement and how it relates to traditional analytical parameters such as articulation and form. Bartok! |s Sting Quartet No.
4 comprises of 5 movements. The slow movement (III) is the kernel of the work, with the 4 other movements arranged in layers around it. Bartok employed an arch form when constructing the quartet A-B-C-B-A (fast-scherzo-slow-scherzo-fast).
The slow movement (III) is the kernel of the work; with the 4 other movements arranged in layers around it. The third movement contains material independent of the other movements as a means of contrast and highlighting it as the central movement and point of symmetry. Within the third movement itself Bartok has employed a ternary form that is symmetrically sectioned (the coloured bands in the score).
The Essay on Movements Led by Gandhi
The term Indian independence movement encompasses a wide range of areas like political organizations, philosophies and movements which had the common aim to ending the company rule (East India Company), and then British imperial authority, in parts of South Asia. The independence movement saw various national and regional campaigns, agitations and efforts, some nonviolent and others not so. ...
A- Non troppo lento [mm. 1] “.
