Hahahaha! So, here's what I get for ending Bat Boy rehearsal late. You can't get to the library before it closes, and the only recording you can find is of the VERY dissonant Bartok piece. Here we go!
The piece uses two voices, close in register (think alto and tenor voicing - that's the only way I can describe it). Therefore, it's hard to follow the voices separetely. It sounds like they are blending together to create one voice. Often, while one voice holds a note, the other is playing part of the main motive, creating a feeling of one motive being handed back and forth between the voices.
I didn't recognize any distinct cadences, but the diminished fifth is used a lot at the end of motives, hence the title. For example, it's used at the end of M. 4. This could suggest the end of a phrase, especially since there's an eighth note rest in both voices. The other obvious place that the diminished fifth is used is the last chord of the piece, where the opening motive returns, starting M. 36.
The alto voice begins the main motive, with the tenor voice playing an inverted form of this statement. I loved the descending line that alternates between the two voices from M. 15-22.
Best I could do!