Marked The Beginning Of The Symmetrical Chord

Of all the works of Bela Bartok, The 《 Third String Quartet》, Written in 1927. is the most abstruse and difficult to understand. Most of the analysis and research at my hand about this book are not so detailed. In Lendvai's 《Bartok: An Analysis of His music》, for instance, only two fragment of music score were cited (major-minor chord and octatonic scale).but the form and harmony theory which he constructed can't expound this work. Some treatise even avoid referring it, e.g. Antokoletz's 《The Music of Bela Bartok》 explicitly indicated that, of the six string quartets, he only discuss on the No₁ No₂. No₄, No₅, No₆, In my thesis I concentrate on the symmetry chord structure and progression, in this work to build out I ideas of Bartok's composing. As far as the mode, tonality and the way of theme development is concerned, many treaties have expounded, so I only give brief introduction.The conception of symmetry chord was at first put forward by George perle(i.e.X.Y.chord corresponding to the S(?)S(?) on my paper respectively). Latter, on thisfoundation, Leo Tretler proposed the Z chord (corresponding to S(?) on my paper). Butonly with this three chord we can systematically explain neither this quartet, nor others. After attentive study I discovered the universality of the symmetry chord and the structure function of the original interval (Mr. Yao Shengchang named it as structure interval)on the vertical structure and horizontal progression. Furthermore, I tried to explore the polymode foundation of taking form, method of structure, characteristic of the chord and the principle of the harmony movement. Actually .this is also the effective harmony organizing method for the twelve tone music characterized by mode. If we analyze this quartet with the theory of symmetry chord and original interval, it can be easier to understand. And this theory is permeated through the synthesizing analysis section.Furthermore, the harmony principle summarized from this quartet, practically, may be extensively applied to harmony organization of in intensively chromatical, mode-characterized music. In this area, this work is good example. Further exploration and study by composers and theorists are still needed on its development.