An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók. Page: III
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The author would like to express the deepest gratitude to Dr. Timothy Jackson, the
director of the dissertation, for his constant interest and helpful guidance. His scholarly example
as a thinker and creator of ideas has been an inspiration to the writer.
Appreciation is also expressed to Dr. Pamela Mia Paul, Mr. Adam Wodnicki, the other
members of the doctoral committee, for their helpful suggestions and comments.
Grateful acknowledgment is expressed to Boosey and Hawkes, Inc., for permission to
quote from the music of the Sonata for Two Pianos and Percussion.
I would like to thank Mr. Peter Bart6k for permission to reproduce the manuscripts
included in the dissertation.
Special thanks must be given to Lorrelaine Mecca for her valuable suggestions in my
English writing. Bill Pavlak made available the Schenkerian examples. I wish to thank Jennifer
Sadoff and Michael Crispin for their invaluable help with computers. Mr. Christopher Deana
gave me some very interesting information on the percussion parts.
Finally, I would like to thank my family for constant support.
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Ujj-Hilliard, Emöke. An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók., dissertation, May 2004; Denton, Texas. (digital.library.unt.edu/ark:/67531/metadc4480/m1/4/: accessed December 18, 2018), University of North Texas Libraries, Digital Library, digital.library.unt.edu; .