A BIT OF THEORY
As in the case of Schoenberg, whose creative methods were later explained by analysts using concepts (like the rudimentary “set theory” we explored in chapter 6) that the composer never knew or needed, so Bartók’s symmetrical structures were rationalized long after his death according to “paradigms” or models with which he was probably unfamiliar as such. The fact that analytical methods are sometimes anachronistic does not necessarily lessen their appropriateness or their explanatory potential (or else we would have long since stopped using Roman numerals to label chord functions in Bach or Mozart). As explained with reference to Schoenberg, we often need them in order to infer and then demonstrate to our own satisfaction the premises on which the composer was relying a priori.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Social Validation." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 15 Mar. 2025. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Social Validation. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 15 Mar. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Social Validation." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 15 Mar. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007004.xml
