'The publication of this study of the music of Bela Bartok is an
important event. Many descriptive analyses of particular works of
his have appeared, but here for the first time is an authoritative
and convincing exposition of the theoretical principles which the
composer worked out for himself but refrained, as far as is known,
from expounding it to anyone during his lifetime. Erno Lendvai has
disclosed the fact that Bela Bartok, in his early thirties, evolved
for himself a method of integrating all the elements of music; the
scales, the chordal structure with the melodic motifs appropriate
to them, together with the proportions of length as between
movements in a whole work, main divisions within a movement such as
exposition, development and recapitulation and even balancing
phrases within sections of movements, according to one single basic
principle.' Alan Bush
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