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This comprehensive, accessible guide to Bartók and his music contains up-to-date research by a new generation of Bartók scholars. Part I sets the cultural, social and political background in Hungary at the beginning of the twentieth century, and considers Bartók's research into folk music. Part II surveys his compositional output in all genres, relating changes in style to broad aesthetic issues, his folk music studies, and his activities as a pianist, music editor and teacher. The final part considers various aspects of reception and the variety of responses to Bartók's music in Europe and the United States

Music --- Musique --- History and criticism --- Histoire et critique --- Bartók, Béla, --- Criticism and interpretation. --- Bartók, Béla, --- Criticism and interpretation --- Bartók, Béla, - 1881-1945 - Criticism and interpretation --- Bartók, Béla, - 1881-1945 --- Bartók, Béla, - 1881-1945

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It is well known that Béla Bartók had an extraordinary ability to synthesize Western art music with the folk music of Eastern Europe. What this rich and beautifully written study makes clear is that, contrary to much prevailing thought about the great twentieth-century Hungarian composer, Bartók was also strongly influenced by the art-music traditions of his native country. Drawing from a wide array of material including contemporary reviews and little known Hungarian documents, David Schneider presents a new approach to Bartók that acknowledges the composer's debt to a variety of Hungarian music traditions as well as to influential contemporaries such as Igor Stravinsky. Putting representative works from each decade beginning with Bartók's graduation from the Music Academy in 1903 until his departure for the United States in 1940 under critical lens, Schneider reads the composer's artistic output as both a continuation and a profound transformation of the very national tradition he repeatedly rejected in public. By clarifying why Bartók felt compelled to obscure his ties to the past and by illuminating what that past actually was, Schneider dispels myths about Bartók's relationship to nineteenth-century traditions and at the same time provides a new perspective on the relationship between nationalism and modernism in early-twentieth century music.

Music --- Composers --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History and criticism. --- Bartók, Bela, --- Bartokas, B., --- Criticism and interpretation. --- Compositeurs --- Musique --- Biographies --- Histoire et critique --- Bartók, Béla, --- Bartók, Béla, --- Bartók, Béla, -- 1881-1945 -- Criticism and interpretation.. --- Composers -- Hungary -- Biography.. --- Music -- Hungary -- 20th century -- History and criticism. --- 1900s. --- 1940s. --- 19th century. --- 20th century composer. --- 20th century music. --- academic. --- composer. --- eastern europe. --- european history. --- folk music. --- folk stories. --- folk tales. --- folklore. --- hungarian composer. --- hungarian music. --- hungary. --- igor stravinsky. --- modernism. --- music academy. --- musical tradition. --- nationalism. --- scholarly. --- traditional music. --- western art. --- western music. --- western world.