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The perfect fourth in fact generates much of the motivic and harmonic material of the entire movement, and its importance is immediately evident in the Introduction with the opening bass motive.
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Furthermore, the following two instances of this opening motive, shown in Examples 4 and 5, remove any doubt as to the motivic importance of the perfect fourth, and in turn diminish the importance of the pentatonic set.
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Example 4 transitions from C♯ to F♯, and adds pitch-class E to the pentatonic set of Example 3, creating a six-note set of stacked fourths.
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Each note is either approached or left (or both) by a fourth, and the structural motion is from F♯ to D♯.
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The overall motion in the first 29 measures is C♯ to D♯, through F♯; these are represented enharmonically in Example 2 as D♭, E♭ and G♭.
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As previously mentioned, this motion constitutes the initial ascent to what will eventually be a whole-tone descent from F to F.
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So the prevailing structural motion of the movement as a whole is a descending whole step and the prevailing melodic motion is a (usually ascending) perfect fourth.
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We can connect the two by noting that the descending whole step consists of two ascending fourths; indeed, the structural whole-tone descent is often “filled in” with the intervening fourth.
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This motion is exemplified in Example 2 in the second theme group (mm.
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We will also examine to what degree a “tonal” reading of this movement is limited in its analytical potential in an attempt to pinpoint exactly where Bartók strays from common-practice compositional techniques.
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155-233), and as we will see, it occurs in other places, though not relevant enough to the background structure to be represented in Example 2.
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Each time the motion in Examples 3 through 5 breaks from chains of fourths, the same sequence of intervals occurs: two descending perfect fourths separated by an ascending major second (-5, +2, -5); each instance of this intervallic cell is bracketed in the examples.
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This sequence of intervals is the inversion of those found in the second head motive of the first theme of the exposition, shown in measures 2-3 of Example 8.
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So although there is no thematic relation between the Introduction and the main sections of the movement, within the first 29 measures we can already see structural, harmonic and motivic elements that apply to the movement as a whole.
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The section from measures 35-50 is centered on E; upon the return of D♯, enharmonically respelled as E♭, in measure 58, we see that E acts as its upper-neighbor.
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This relationship is somewhat obscured by measures 51-57 however; while there is no clear tonal center for this section, G appears in the outer voices in measure 51, although the harmonic material is reminiscent of C minor.
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The concluding motive of this section in the violins (the bracketed sections of Example 6), as well as the bass motive of measure 58ff.
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(Example 7), are related to the first head motive of the first theme, which is shown in the first measure of Example 8.
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All three of these motives span a tritone, which as mentioned is the “dominant” relationship in this movement.
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Because of this it is possible to take up any given colors and make them harmonize
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For this reason white walls are favored over colored ones for both galleries and architectural spaces.
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Why in a world filled with color do we feel the need to purge it from our space?
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The white of the walls intensifies the color of what is set before them.
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It stabilizes and controls forms because it brings to light the contours of the space.
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“In the white painted room the clarity of spatial sensation and disposition was surest and most convincing, all the details of the form and color of the furnishings could be developed undisturbed in front of this background…In this a form was discovered which was completely convincing in its simplicity and which could be seen as one of the essential formulas for wall treatment in “closed” spaces”
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In the 19th century it became fashionable for bourgeois women to dress in white, while men dressed in black (Wigley).
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These distinctions proved a certain rational order, only attained by those able to afford of it.
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White walls, white clothing, they both require much more maintenance than something colored where a stain can merely hide away among the other colors.
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Crisp whiteness on the other hand expresses a sort of luxury, and leisure.
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White clothing proved that someone was of a level of society in which they were not forced to work, for the clothing would immediately become soiled if not and thus the reason why women who were the ones to stay at home dressed in all white, while men who were the ones to go out and work wore black, for black did in fact hide stains.
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The same goes with white walls, in their impeccability it proved to whoever, that the owner could afford to not live actually live in this space, or could afford more simply for the upkeep and constant fresh coats of paint.
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Both as well were signs of the modern age man had reached.
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“Pure white was de rigueur, partly because of its exciting novelty, partly because it emphasized the smoothly mechanical texture, and pointed the contrast between it and surrounding nature”
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The use of white was proof that man had conquered nature.
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The use of white and black in dress and architecture also became a way of distinguishing oneself from the vulgar, normal, lower classes.
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Ever since the dawn of man, human society has evolved in ways which attempt to ultimately control nature.
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Furthermore, with the advent of industrialization the invention of new synthetic dyes meant that color in dress became democratized for all classes.
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Now, anyone could afford to wear colorful clothing and the masses began to dress themselves in what once would have been inconceivable to them.
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Thus said, the use of black in white in wardrobe perhaps was a way for the new bourgeoisie to distinguish themselves from the decadence of the upper class and the vulgarity from the low.
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“In the prevailing styles of the European bourgeoisie, there long survived a tendency to limit the use of color, with strong emphasis on what are generally thought of as non colors, such as white, black and gray”
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Seeing as color is something of the natural world, age old and archaic, washing it away from our lives is the ultimate form of rising above the physical world.
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Another reason why it is believed that the bourgeoisie took preference in black and white is because of the Victorian sobriety of the age and their obsession with purity and cleanliness.
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This simplicity of dress was seen as a mark of the modern man.
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Other major technologies during the age of industrialization also had an effect on this preference for black and white.
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Photography took over as a means of portraiture for the bourgeois and the upper class and despite the fact that it was possible to color the photographs, for the most part they were left in black and white because it was seen as more “natural”.
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“This world was viewed as orderly and relatively uniform, a world in “black and white”
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This led to the idea of writing = rationality = production that confined images, especially images in color, to the emerging field of “art”, which was understood as an essential activity but one that was essentially unproductive, while it assigned to the two-toned and orderly world of printed paper the role of a daily guide to existence”
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“Intelligent beings have a language represented by articulate sounds; organized beings, like all animals and vegetables, express themselves by cries or forms, contour or carriage.
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Black and white became a symbol for the superiority of man’s intellect and technology.
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This then translated down into the world of fashion, as seen with the distinction between black and white clothing, as well as art, namely photography but also film and as discussed before architecture and gallery space.
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Seeing as since the time of Aristotle, form was valued over that of color, the arts which did not require color to be enjoyed were perceived to be that of a higher form.
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“Kitsch is a product of the industrial revolution which urbanized the masses of Western Europe and America and established what is called universal literacy”
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In order to meet the demand of mass markets cheap and bright things of little use were made to attract the attention of consumers.
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Kitsch made cheap what once was truly cultural by the way it reproduced it d infinitum.
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It is the source of its profits. Kitsch is mechanical and operates by formulas.
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Kitsch is vicarious experience and faked sensations.
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Kitsch changes according to style, but remains always the same.
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Kitsch pretends to demand nothing of its customers except their money -- not even their time”.
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With the advent of kitsch came a great need for the distinction between higher and lower artforms.
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Avant guard at the time was considered to be true art, while this kitsch was simply pure imitation.
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Inorganic nature has only the language of color.
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Thus said, this along with the influence of black and white print perhaps was the cause for the belief that which was black and white was deemed a serious, high art, while that which was colorful was mere rubbish and imitation for the lower classes.
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Of course during the early stages of color film and photography, the quality was so poor that it gave a cheap look, whereas black and white film really allowed one to see the light and the shadows in the images.
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For the play of light and form was key in demonstrating the true art form.
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It is by color alone that a certain stone tells us it is a sapphire or emerald… color, then, is the peculiar characteristic of the lower forms of nature, while drawing becomes the medium of expression, more and more dominant, the higher we rise in the scale of being”
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That was what made up the essence of an image, not the artificial, or superficial filling in of form with color.
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Color was thought to distract the viewer from the soul of the image.
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These beliefs have changed since color technology as tweeked to the point of being almost better than reality.
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Still though black and white is seen as something of a more sober tradition.
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These non colors allow for the appreciation of color.
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When something is black and white, it allows the mind to fill in and imagine for itself the amazing colors that must exist beyond the screen.
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Many actually complained with the invention of color in movies that this stunted the mind since one was forced to look at the garish colors placed before them.
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It is for this reason that ultimately the use of black and white is seen as more of an intellectual process.
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Whether it mean going beyond the mind or simply the purity of non color, the use of black and white has been debated over for the last hundred years.
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Now we have entered an era where we are seeing once again more color, but perhaps it is human instinct, to want to surpass and rebel against generations before, so possibly we shall return to a state of non color veneration.
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Thus is the ebb and flow of life.
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The world is made up of a myriad of colors. color gives distinction to our life, it gives flavor and meaning.
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In the Far East, reaching a state of colorless-ness is associated with the highest state of spiritual being, the state of Zen.
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What is typical of this sort of ascetism is the art of expressing as much as possible using the minimum as an ideal.
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This is apparent through Japanese haiku as well as the art of ink painting in both China and Japan.
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For them, reaching the greatest depths of spirituality demanded expression in its most minimal form.
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This reduction of color and expression proved the purity the artist had reached within himself, it was a means of reducing down to the essence of a thing.
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In the Elimination of color in the Far East, Izutsu explains though how this ultimate state of minimalism can only be reached through an appreciation and fine knowledge of color.
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“This artistic acestism, i.e., the suppression of externals and the reduction of all colors to black and white, manifests its real aesthetic function only against the background of a highly refined sensibility for colors and their subtle hues.
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What would our lives be without color?
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At the same time in our modern society, color has been seen as an external threat to be purged from the enlightened mind and space.
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For black and white can only be seen as distinguishing against a background of color and for this very reason one can assert that both black and white are colors in themselves as non-colors.
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It is through the absence of color that one brings to mind the colors that are no longer present.
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It is up to the mind to fill in the blank space.
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Without color one could not appreciate the purity of the black and white space.
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colorlessness needs color in order to for the full aesthetic experience to take place.
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“That is to say, under the total absence of color, there is a vague reminiscence of all colors that have been “killed”
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Black and white are the consummation of all colors into one.
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“Black is life; it is the infinite possibility of expression and development. Black here is not sheer black.
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For in it’s negation of all colors, all colors are positively affirmed”
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It is through these means that one finds the essence in a thing.
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In Western society, this purging of color began with the rejection of ideals of generations past.
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Eliminating color was a way of eliminating the decadence of the 18th century.
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Society turned to minimalism as a way of cleansing life, representing modernity.
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color became a moral issue, seen as something sensuous and dangerous in its secondary nature to the essence of life and form.
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