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Why is the "Spirit" of Folk Music so Important? on the Historical Background of Béla Bartók's Views of Folk Music

Mineo Ota
International Review of the Aesthetics and Sociology of Music
Vol. 37, No. 1 (Jun., 2006), pp. 33-46
Stable URL: http://www.jstor.org/stable/30032183
Page Count: 14
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Why is the "Spirit" of Folk Music so Important? on the Historical Background of Béla Bartók's Views of Folk Music
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Abstract

We use terms like "nationalism" and "modernism", when we try to characterize a certain cultural movement. However, not every cultural movement is as monolithic as these terms may suggest. And it is not free from its historical background. In this essay on Bartók we examine how a single artistic endeavor can become "national" and "new" at one and the same time. The nationalist Bartók and the modernist Bartók may not necessarily be "incompatible", although it is true that the terminology relating to this question is still yet to be refined. In any case, when we think of Bartók's lifework, we should consider above all the complex nature of this composer's strategy. /// Termine kao što su "nacionalizam" i "modernizam" upotrebljavamo kada pokušavamo karakterizirati neki pokret u kulturi. Međutim, svaki pokret u kulturi nije tako monolitan kao što bi to sugerirali ovi termini, jer nije slobodan od svoje povijesne pozadine. U čanku se pokazuje kako pojedinačni umjetnički pokušaj može postati istodobno "nacionalnim" i "novim". Bartók nacionalist i Bartók modernist nisu nužno "inkompatibilni", premda je istina da terminologiju koja se odnosi na ovo pitanje još valja pročistiti. U svakome slučaju, kada se govori o Bartókovu životnom djelu valja prije svega uzimati u obzir složenu prirodu strategije ovoga skladatelja.

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