Bartók’s Orbit
The Context and Sphere of Influence of His Work

An international conference celebrating the 125th anniversary of Béla Bartók’s birth
at the Institute for Musicology of the Hungarian Academy of Sciences

March 22 – 24, 2006

 

Program of the conference >


Bartók’s Orbit
The Context and Sphere of Influence of His Work

Program of the conference
March 22—24, 2006

 

Wednesday, March 22, 2006, morning session, 9.30 to 13.00

Opening address
Vikárius, László (Head of the Bartók Archives)

Keynote Speech
Taruskin, Richard (Berkeley): Why You Cannot Leave Bartók Out

Interpreting the Stage Works

Szegedy-Maszák, Mihály (Budapest and Indiana University): From Text to Music: Bartók’s Approach to Literary Works
Antokoletz, Elliott (Austin, Texas): Musical Symbolism in Bartók’s Duke Bluebeard’s Castle: Trauma, Gender, and the Unfolding of the Unconscious

—coffee break—

Jezovšek, Veronika (Frankfurt am Main): Divergierende Schichten eines ästhetischen Manifests: Anmerkungen zu „Herzog Blaubarts Burg“
Kilpatrick, Stephen (The University of Salford): “Life is a woman”: Gender, Sex and Sexuality in Bartók’s The Wooden Prince
Büky, Virág (Budapest Bartók Archives): Exotic Climate in Budapest at the Time of the Creation of the Miraculous Mandarin

 

Wednesday, March 22, 2006, afternoon session, 14.30 to 18.00

New Approaches to Bartók’s Style

Somfai, László (Budapest): Perfect Notation in Historical Context: The Case of Bartók’s String Quartets
Downes, Stephen (University of Surrey): Bartók’s Elegiac Modernism
Frigyesi, Judit (Bar-Ilan University): Split Oeuvre: Bartók’s Journey in the Night 

—coffee break—

Gillies, Malcolm (Australian National University): Bartók’s “Fallow Years”: A Reappraisal
Móricz, Klára (Amherst, USA): The Untouchable: Bartók and the Scatological
Losseff, Nicky (University of York): Casting Beams of Darkness into Bartók’s Cantata profana

 

Thursday, March 23, 2006, morning session, 9.30 to 12.00

Reconsidering Bartók’s Folklorism

Lampert, Vera (Brandeis University, USA): Nationalism, Exoticism, or Concession to the Audience? Motivating Forces behind Folksong Settings
Tallián, Tibor (Institute for Musicology, Budapest): Bartók’s Hungary
Floeckher, Richard (Cincinnati, Ohio, USA): Bartók the Nietzschean: Folk Music as an Affirmation of Life

—coffee break—

Edwards, Warwick (University of Glasgow): Bartók, Parlando-Rubato, and Music Beyond Measure
Szalay, Olga (Budapest): Le « folklore musical » en tant que sujet de recherche dans l’oeuvre de Bartók

 

Thursday, March 23, 2006, midday talk, 12.20 to 13.00

Bartók Institutions

Verspeurt, Veronique (Royal Library of Belgium, Brussels): The Belgian Bartók Archives: History, Contents and Mission

 

Thursday, March 23, 2006, afternoon: four parallel sessions, 14.30 to 18.00

Emerging Work on Bartók I: Approaches to His Style and Work

Merrick, Paul (Budapest): Bartók and C major ad mentem S. Thomae Aquinatis
Martins, José António (The University of Iowa, USA): Polymodality and Mistuned Spaces: Reevaluating the Tonal-Atonal Split in Bartók’s Analytical Reception
Seress, Hugues (Paris): Aspects de la Tonalité et de la Modalité chez Béla Bartók: l’Harmonisation des Mélodies Populaires du Bassin des Carpates

—coffee break—

Atar, Ron (PhD student, Bar-Ilan University): Improvisations op.20: The Concept of the Composition as reflected in Bartók’s Recording
Ćurković, Ivan (Zagreb): “Night Music” in the Opus of Béla Bartók: Interpretational Contradictions Concerning Extra-Musical Issues in Certain of the Composer’s Instrumental Pieces
Fuchs, Joanna M. (Youngstown State University, USA): Critique and Parody in Bartók’s Concerto for Orchestra
Stachó, László (Liszt University of Music, Budapest): You are so beautiful, so splendid... my Hungary? – Bartók’s Curious Longing for the Fatherland

 

Emerging Work on Bartók II: Parallels to Bartók’s Work

Bakke, Reidar (NTNU Norwegian University of Science and Technology, Trondheim): Wanderings of Folksongs
Servière, Antonin: Béla Bartók et Jean Sibelius: opposition ou divergence ? Eléments de comparaison
Firca, Clemensa Liliana (Romania): Enesco – Bartók: Interférences
Santana, Helena (DeCA, Universidade de Aveiro) and Rosário Santana (Escola Superior de Educação da Guarda): La culture d’un peuple dans l’œuvre de deux nationalistes – Béla Bartók versus Fernando Lopes Graça

—coffee break—

Radinović, Sanja (Faculty of Music, Belgrade, Serbia and Montenegro): Béla Bartók in Development of the Formal Analytics of Serbian Vocal Folk Melodies
Riggs, Kristy K. (Temple University, Philadelphia, Pennsylvania, USA): Bartók in the Desert: Challenges to a European Conducting Research in North Africa in the Early Twentieth Century
Sipos, János (Budapest): A lament from Bartók’s Anatolian collection and its musical background

 

Emerging Work on Bartók III: Influences on and from Bartók’s Work

Broman, Per F. (Bowling Green State University, Ohio, USA): In Beethoven’s and Wagner’s footsteps: Towards a Theory of Formal Functions in the Instrumental Music of Béla Bartók
Orbán, Béla (Strasbourg): Écriture dans le Troisième quatour de Bartók: évolution d’un modèle de thématique et de forme unitaire
De Surmont, Noël (Strasbourg): L’influence de Maurice Ravel sur Béla Bartók (principalement dans Daphnis et Chloé de Ravel et Le Prince de bois de Bartók )

—coffee break—

Romanou, Ekaterini (Music Department, University of Athens): Béla Bartók and Nikos Skalkottas
Summerville, Suzanne (Fairbanks, Alaska): Violet Archer and Béla Bartók: A Memoir of Two Composers Influenced by Folk Music
Tual, François-Gildas (l’Ecole Nationale de Musique d’Alençon): Des influences de Bartók sur la pensée musicale de Pierre Boulez et sur le post-sérialisme

 

Emerging Work on Bartók IV: Bartók’s Influence Revealed

Németh G., István (Budapest): “Constant sources of experience and tension”: Bartók’s Influence on Transylvanian Composers Born in the 1920s and 1930s
Solymosi, Emőke (Budapest): “Bartók always called me Latin”: The Influence of Béla Bartók on László Lajtha’s Life and Art
Tomašević, Katarina (Institute of Musicology of the Serbian Academy of Sciences and Arts): Modalities of Béla Bartók’s Influence on the Serbian Music in the First Half of the 20th Century
Jyrkiäinen, Reijo (Helsinki): Bartók in the North: Orchestral and Scenic Works in Helsinki

—coffee break—

Tillman, Joakim (Stockholm University): Bartók’s Influence on Ingvar Lidholm
Shakhkulyan, Tatevik (Yerevan, Armenia): “Fan-Shaped” Principle in Works of Béla Bartók and its Influence on 20th-Century Music
Wong, Hoi-Yan Wendy (The Chinese University of Hong Kong): Bartók’s Influence on Chinese New Music

 

Friday, March 24, 2006, morning session, 9.30 to 13.00

The Absorption of Influences in Bartók’s Work

Grymes, James (University of North Carolina at Charlotte): Bartók’s Pozsony: An Examination of Neglected Primary Sources
Schneider, David E. (Amherst, USA): Dohnányi, the Puszta and the Pastoral Roots of Bartók’s Modern Style
Hooker, Lynn (Indiana University): Bartók and Discourses of “Hungarian Music” in Early Hungarian Musicology

—coffee break—

Hunkemöller, Jürgen: Scherzi im Komponieren Bartóks
Breuer, János (Budapest): Bartók und Schönberg
Kreyszig, Walter (University of Saskatchewan, Saskatoon, Canada; University of Vienna): Béla Bartók as Performer and Pedagogue of the Eighteenth-Century Viennese Classical Tradition: Wolfgang Amadeus Mozart’s Rondo in A-Major for Piano and Orchestra (KV 386) in the Context of Eighteenth-, Nineteenth- and Twentieth-Century Quellenkritik and Bartók’s 1936 Recording of this Work
Vikárius, László (Budapest Bartók Archives): Bartók’s Late Adventures with der Kontrapunkt

 

Friday, March 24, 2006, afternoon session, 14.30 to 18.00

Bartók Reception

Kárpáti, János (Budapest): Axis Tonality and Golden Section Theory Reconsidered
Dalos, Anna (Budapest): Bartók, Lendvai und die Lage der ungarischen Komposition um 1955
Hohmaier, Simone (Berlin): „Hommage à“ und „in memoriam“ – Grundzüge der Bartók-Rezeption nach 1945

—coffee break—

Fjeldsøe, Michael (University of Copenhagen): Different Images: Early Bartók Reception in Denmark
Oramo, Ilkka (Sibelius Academy, Helsinki): Sibelius, Bartók, and the “Anxiety of Influence” in Post World War II Finnish Music
Chigareva, Evgeniya (Tchaikovsky Conservatory, Moscow): Zur Rezeption von Bartóks Schaffen in Russland

Concluding Remarks

 

Conference announcement >

 
Bartók’s Orbit
The Context and Sphere of Influence of His Work

 

An international conference
to be held by the
Bartók Archives of the
Institute for Musicology of the
Hungarian Academy of Sciences
22–24 March, 2006

To celebrate the 125th anniversary of Béla Bartók’s birth the Institute for Musicology in Budapest holds an international conference in March 2006. The main purpose of the conference is to reexamine Bartók’s place and significance in the history of 20th-century music. We have invited free papers on the influences (musical, cultural, etc.) under which Bartók worked and on the influence he exerted on contemporaries as well as later generations. Bartók’s tremendous scholarly work also needs to be reevaluated and we have encouraged scholars to offer papers on Bartók’s work as a folklorist, especially from the changing perspective of ethnomusicology and musical anthropology. Bartók was a thoroughly musical man (Cecil Gray called him the “living incarnation of the spirit of music”), but his work was linked to overall cultural trends and therefore inter- or multi-disciplinary approaches to the literary and artistic context of his music have also been welcome. Proposed titles in the classic research fields of biography, philology and analysis, whenever the scholarly findings seemed promisingly new and important, have also been accepted. The main topics of the sessions are the following:
  • Interpreting the stage works
  • New approaches to Bartók’s style
  • Reconsidering Bartók’s folklorism
  • The absorption of influences in Bartók’s works
  • Bartók reception
  • Emerging work on Bartók
  • Bartók institutions
Paper proposals were selected by a committee by 30 September 2005. 60 contributors coming from 21 countries (including Hongkong, Russia, a number of European countries and the United States) were finally accepted. The three-day-long conference is organized in morning and afternoon sessions. Due to the unexpectedly large number of participants, occasionally parallel sessions will be held. Official languages of the international conference are English, French and German.


Tibor Tallián
Director of the
Institute for Musicology
László Vikárius
Head of the
Bartók Archives



A conference celebrating the 125th anniversary of Béla Bartók’s birth at the
Institute for Musicology of the Hungarian Academy of Sciences
March 22 (Wednesday) – 24 (Friday), 2006
Táncsics M. u. 7., Budapest, Hungary, H-1014
information: This email address is being protected from spambots. You need JavaScript enabled to view it.