Chapter 4: Modernism and Authenticity

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Example 4.1 | Example 4.2 | Example 4.3 | Example 4.4 | Example 4.5 | Example 4.6a; Example 4.6b | Example 4.7 | Example 4.8 | Example 4.9 | Example 4.10a; Example 4.10b

Example 4.1

RH14, mm. 37–43

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Example 4.2

Correspondence between symmetric and “folkloristic” (verbunkos) scales according to Bárdos

1:3 model,
3:1 model,

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Example 4.3

La Notte, mm. 72–87 (some dynamics and pedaling omitted)

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Example 4.4

Two verbunkos modes on C and D as one continuous tone row (cf. ex. 4.3)

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Example 4.5

Minor melody against parallel-major chords in Transylvanian instrumental music: beginning of Csárdás (1941). Reproduced with permission from Lajtha, Széki gyűjtés No. 7 (1954)

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Example 4.6

RH14, vivace assai:
(a) A concise representation of the three main themes of the section, mm. 209–74, leading to
(b) three variants of Theme I, mm. 275–99

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Example 4.7

RH14, vivace assai: motivic similarities among the three themes

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Example 4.8

RH14, vivace assai: the melodic-harmonic structure that binds the three themes in their first complete cycle, mm. 209–74


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Example 4.9

RH14, vivace assai, mm. 209–338: the relationship between verbunkos elements, the overarching A-minor melody (scale), and the three-stage tonal process

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Example 4.10

(a) Csermák, Friss magyar (1825), mm. 1–8. Source: MnVv No. 40;

(b) Liszt, MD4 (1840), mm. 59–66


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