Bartókiana - Abstracts
Bartók’s Improvisations for Piano: a Musical Frontier Abstract and References
The “conferred” and the “inherent” meanings in Béla Bartók's notation
On the Persistence of an Iconic Misrepresentation: Two Musical Examples by Béla Bartók
The Missing 32":
Sotto il segno dell’orso
(Under the Sign of the Bear)
Influence and affinity: from Béla Bartók’s direct filiation to Umberto Eco’s primitive affinities
On the
Shaman’s Trail: Béla Bartók’s
Szabadban (OUT DOORS)
Rethinking
Bartók’s Boundaries
Transgression
without Threshold: on the Missing, or Mistranslated
Bard’s Prologue in Béla
Bartók’s Duke Bluebeard’s Castle.
“Gestures of
Lament: the ‘Sostenuto
e pesante’ Movement in Bartók’s
Piano Sonata”
Bartók’s “only really true notations…[1943]”
On Provenance
and Filiation:
from Comparative Musicology (Bartók) to Le
affinità primitive (Eco)
Le connessioni
invisibili:
A Musician’s Reading of Calvino
"…a
sign…, a summons, a wink:" Shamanic traces
in Bartók's Szabadban
Bartók's
Boundaries: Trans/position, Trans/mission, Trans/gression
The urtümliches
Klangspektrum in Bartók's Piano Music
"An analysis
of "Leggerezza" - from "Invisible
Connections:" the Harvard Lectures of Bartók
(1943) and Calvino (1985)
Repenser les frontierès
de Bartók (2001)
Sotto il segno dell’orso (1996) - In Italian
On Bartók and Brancusi
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