The long-held notion that Bartók’s style represents a unique synthesis of features derived from folk music, from the works of his best contemporaries, as well as from the great classical masters has resulted in a certain asymmetry in Bartók studies. This article provides a short overview of the debate concerning the “Bartókian synthesis,” and presents a case study to illuminate how an ostensibly “lesser” historical figure like Domenico Scarlatti could have proved important for Bartók in several respects. I suggest that it must almost certainly have been Sándor Kovács who called Scarlatti’s music to Bartók’s attention around 1910, and so Kovács’s 1912 essay on the Italian composer may tell us much about Bartók’s Scarlatti reception as well. I argue that, while Scarlatti’s musical style may indeed have appealed to Bartók in more respects than one, he may also have identified with Scarlatti the man, who (in Kovács’s interpretation) developed a thoroughly ironic style in response to the unavoidable loneliness that results from the impossibility of communicating human emotions (an idea that must have intrigued Bartók right around the time he composed his Duke Bluebeard’s Castle ). In conclusion I propose that Scarlatti’s Sonata in E major (L21/K162), which Bartók performed on stage and also edited for an instructive publication, may have inspired the curious structural model that found its most clear-cut realization in Bartók’s Third Quartet.
STUDIA MUSICOLOGICA
Address: H–1250 Budapest, PO Box 9, Hungary
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E-mail: studia@btk.mta.hu
Indexing and Abstracting Services:
- Arts & Humanities Citation Index
- International Bibliographies IBZ and IBR
- JSTOR
- Music Indev
- RILM
- SCOPUS
| 2021 | |
|---|---|
| Web of Science | |
| Total Cites WoS |
67 |
| Journal Impact Factor | not applicable |
| Rank by Impact Factor | not applicable |
| Impact Factor without Journal Self Cites |
not applicable |
| 5 Year Impact Factor |
not applicable |
| Journal Citation Indicator | 0,04 |
| Rank by Journal Citation Indicator | Music 100/112 |
| Scimago | |
| Scimago H-index |
5 |
| Scimago Journal Rank |
0,101 |
| Scimago Quartile Score | Music (Q4) |
| Scopus | |
| Scopus Cite Score |
0,1 |
| Scopus CIte Score Rank |
Music 130/153 (Q4) |
| Scopus SNIP |
0,000 |
| 2020 | |
|---|---|
| Scimago H-index |
3 |
| Scimago Journal Rank |
0,100 |
| Scimago Quartile Score |
Music Q4 |
| Scopus Cite Score |
5/56=0,1 |
| Scopus Cite Score Rank |
Music 118/147 (Q4) |
| Scopus SNIP |
0 |
| Scopus Cites |
11 |
| Scopus Documents |
0 |
| Days from submission to acceptance | 112 |
| Days from acceptance to publication | 413 |
| 2019 | |
|---|---|
| Scimago H-index |
3 |
| Scimago Journal Rank |
0,100 |
| Scimago Quartile Score |
Music Q4 |
| Scopus Cite Score |
1/66=0 |
| Scopus Cite Score Rank |
Music 122/142 (Q4) |
| Scopus SNIP |
0,000 |
| Scopus Cites |
4 |
| Scopus Documents |
0 |
| Studia Musicologica | |
|---|---|
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| Studia Musicologica | |
|---|---|
| Language | English French German |
| Size | B5 |
| Year of Foundation |
2007 (1961) |
| Volumes per Year |
1 |
| Issues per Year |
4 |
| Founder | Magyar Tudományos Akadémia |
| Founder's Address |
H-1051 Budapest, Hungary, Széchenyi István tér 9. |
| Publisher | Akadémiai Kiadó |
| Publisher's Address |
H-1117 Budapest, Hungary 1516 Budapest, PO Box 245. |
| Responsible Publisher |
Chief Executive Officer, Akadémiai Kiadó |
| ISSN | 1788-6244 (Print) |
| ISSN | 1789-2422 (Online) |
Monthly Content Usage
| Abstract Views | Full Text Views | PDF Downloads | |
|---|---|---|---|
| Dec 2022 | 9 | 0 | 0 |
| Jan 2023 | 9 | 0 | 0 |
| Feb 2023 | 5 | 0 | 0 |
| Mar 2023 | 3 | 0 | 0 |
| Apr 2023 | 4 | 0 | 0 |
| May 2023 | 1 | 0 | 0 |
| Jun 2023 | 2 | 0 | 0 |
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