In lieu of an abstract, here is a brief excerpt of the content:

3. 4. 5. 6. 7. 8. 9. 10. 11. Erno Lendvai, Bartok stilusa [Bartok Style] (Budapest: Zenemukiado, 1955) Howat [I] p. 74. Lendvai [3] pp. 12-13. Ern0 Lendvai, Bkla Bartdk: An Analysis o f His Music (London: Kahn & Averill, 1971) p. 21; The Workshop ofBartdk and Koddy (Budapest: Editio Musica) p. 39. Lendvai (1971) [6] p. 21. Lendvai [2] p. 256. See also Matila C. Ghyka,Le nombred‘or (Paris: Gallimard, 1959; reprinted 1985) p. 1-69, n. 2. Howat [I] pp. 70-7 I . See, for example, Laszlo Somfai,“Manuscriptversus Urtext: The Primary Sources of Bartok’s Works”, Studia musicologica 23, 34 (1981); Laszlo Sornfai, “Bila Bartok”, chapters 6-9 in The New Grove Modern Masters (London: Macmillan, 1984) p. 68; Howat [I] pp. 84-90; Roy Howat, Debussy in Proportion: A Musical Analysis (Cambridge: Cambridge University Press, 1983)pp. 9, 15, 187;as well as the exchange Laszlo Somfai, “Commentary ” to Facsimile Edition of Bela Bartok’s “Sonata” (1926) [for piano] (Budapest: Editio Musica, 1980); Ern0 Lendvai, “AranymetszCs?” [Golden Section?], Muzsika (Budapest) 24, No. 2, 45-46 (1981); Laszlo Somfai, “Valasz aranymetszks iigyben” [Reply re: Golden Section],Muzsika24,No. 3,31-32(1981); Erno Lendvai, “Valasz Bartok-Szonata iigyben” [Reply re: Bartok Sonata], Muzsika 24, No. 4,43-45 (1981). For example, see its influence on Marius Cleyet-Michaud, Le nombre &or [Que sais-je?, 15301 (Paris: Presses Universitaires de France, 1985) p. 94. pp. 12-14. INTERNATIONAL BIENNIAL PRINT EXHIBIT by the Council for Cultural Planning and Development, Republic of China. Taipei Fine Arts Museum, Taipei, Taiwan, R.O.C., 1985. 366 pp., illus. Paper. Reviewed by Sean ODriscoll,Irish International Arts Centre, Castle Matrix, Co. Limerick, Ireland. This monumental illustrated book reproduces in full colour the prints of over 500 artists from around the world, selected from 3843 works submitted by 1503 print artists of 58 countries. The excellent reproductions, covering all types of graphic media, place this catalogue in a class by itself. This is Taiwan’s second such exhibit and the success has been overwhelming; it has sparked a revival of printmaking in the Republic of China as well as stirred interest overseas. The response was so encouraging that the council has decided to make this a biennial event. Short Reviews SCHOENBERG ANDTHENEW MUSIC by Carl Dahlhaus.Cambridge University Press, Cambridge, U.K., 1987. 314 pp., illus. Cloth, S30.00, $44.50. ISBN: 0-521-33251-6. ‘New Music’ was a cultural movement active during the first two decades of this century. It embraced many of the seminal composers of the day: Scriabin, Schreker, Webern, Schoenberg. Their influence on music and aesthetics is still felt today. This collection of essays by a leading German musicologist considers Schoenberg as a historical figure, a radical theoretician and a controversial composer . There are also essays of a wider cultural and sociological significance, which, together with the historical and analytical sections, should interest all those involved in twentieth-century music and ideas. THE HISTORY OF SCIENTIFIC DISCOVERY Jack Meadows, ed. Phaidon Press, Oxford, U.K., 1987. 256 pp., illus. Cloth, S19.95. ISBN: 0-7148-2528-X. Subtitled “The story of science told igh the lives of twelve great scientists”, this is a lush coffee-table book that nevertheless has a readable and accurate text magnificently supplemented by well-chosen and excellently reproduced illustrations. The graphics depicting the ‘life, work and times’ of each of the scientists are particularly well done. The 12 scientists considered are Aristotle, Galileo, William Harvey, Isaac Newton, Antoine Lavoisier, Alexander von Humboldt, Michael Faraday, Charles Darwin, Louis Pasteur, Marie Curie, Sigmund Freud and Albert Einstein. A good index rounds off this recommended quick-reference guide. THE SEVEN SKETCHBOOKS OF VINCENT VAN GOGH by Johannes van der Wolk. Thames and Hudson, London, U.K., 1987. 320 pp., illus. Cloth, S30.00.ISBN: 0-500-09182-X. It is a rare and intimate privilege to be allowed to watch an artist at work. This facsimile edition of Van Gogh’s sketchbooks provides us with just such an opportunity. Led by the author’s explanatory text, we can follow the development of some of Van Gogh’s greatest paintings, from their tentative beginnings in the sketchbooks...


Additional Information

Print ISSN
p. 218
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.