Descrição
This paper defends an evaluation of Bartók’s music based on analytical procedures that use abstract theoretical concepts instead of, as advocate some scholars like László Somfai, restrict it to the scrutiny of compositional sketches and ethnomusicological influences. The analytical contributions of Roy Travis, Malcolm Gillies, Erno Lendvai, János Kárpáti, Colin Mason, Allen Forte and Richard Cohn, among others, are evaluated in order to introduce an original model that proposes a nontraditional tonal system based on the interval cycles and inversional symmetry, following some of George Perle’s propositions.
