RETREAT?
ex. 7-26 Béla Bartók, Quartet no. 4, I, mm. 93–104
ex. 7-27 Béla Bartók, Quartet no. 4, I, re-introduction of Z-tetrachords after reprise (mm. 112–114)
The movement, in fine, breaks down into a four-part scheme: mm. 1–49, mm. 50–93, mm. 93–126, mm. 126–160. All of the observations we have been making–the “bithematic” structure of the first section; its thematic correspondences with the third; the seeming dissection of the music into its elementary particles in the second; the integration of elements from the second section within the otherwise “recapitulatory” third; the significantly modified tonal scheme of the third; to which we may now add the quickened tempo and percussive address of the last—conspire to produce an impression of a symmetrically reinterpreted “sonata form” as the composers of the nineteenth century had inherited it from Beethoven, replete with exposition, development, recapitulation, and coda.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Social Validation." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 Dec. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007007.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 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007007.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 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007007.xml
