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Here is my piece for the theory course 302a Bartók. The inspiration for this piece is, of course, Bartók's Mikrokosmos, but I was also inspired by Friedrich's Der Wanderer über dem Nebelmeer, which is shown below:
The answers to some of the questions are on the bottom of this post. Italicized questions should get a short writing response (a sentence or two) along with the composition portion. 1. View the attached score and listen to a recording. 2. The first step when analyzing a piece is to discern its form. Attempt to discern the parts. Then, look for how many phrases are used in each section. What makes a section more similar or dissimilar to another? 3a. The whole step interval (G & A) bounced around the bottom of page two breaks the obvious pattern. Same with the final Piú mosso section. Why would he write it like this? Obviously it's not simply to sound "cool". 3b. Do the non-A sections have any relation to themselves? To the A sections? If so, what is it? If not, why would we write it like this? 4. In almost every section, the pitches do not fall into any pre-established scale. This is because this piece utilizes intervallic mirror technique, where the pitches are reflected exactly upon a tonic note. Your task is to find all the places where this reflection is either shifted or inexact in some way. Ponder why he would bother doing this. 5. Write a short piece for solo piano using mirroring and a recurring A section with changes. Your piece should include a process, that is, a theme of continuously changing something in the piece by a some fixed amount, linear or exponential. 2. Systems 1-3: A Systems 3-4: B Systems: 4-5: A Systems 5-7: B' Systems 7-8: A System 9-10: B" System: 10-11: C Systems 11-13: A Systems 13-15: D (What's important here is that the A sections sound similar, but the other sections do not show any obvious similarities to considered like sections) 4. Mirror off an eighth note in second and third A. The fourth A section gradually displaces the mirror by eighth note, and changes the intervals of the left hand several times, most noticeably the E natural in the beginning. D uses a separate kind of thrown off mirror system.
I was wondering if anybody could give me a little advice I was reading a Bela Bartok letter that he sent to an organization that had just gave him an award. The purpose of the letter that he sent was to correct the errors that the organization made 1. they got the date of the premier the piece wrong 2. why they chose him, incorrectly 3. they should have chosen Zoltan Kodaly 4. he would never accept the award ever, "dead or alive" My question is, should you accept an award for a piece of music of your own, just for the sake of it being your own work, or, should you not accept it, because it is not your best work, and recommend someone who deserves it?