F.J. Haydn, F. Chopin, B. Bartόk에 의한 졸업연주 프로그램의 해설

Abstract

This thesis will comprehensively analyze F.J. Haydn’s “Piano Sonata in E♭Major, Hob.XVI:49”, F. Chopin’s “Polonaise in F♯minor, Op. 44” and B. Bartók’s “Suite, Op.14”, pieces performed at the graduation recital of the researcher, and will examine the characteristics of each composer through the aforementioned works. F.J. Haydn (1732-1809) is arepresentative composer of the First Viennese School who contributed to the orchestral form of sonatas. He composed over fifty voluminous sonatas, and this thesis will examine his sonatas by time periods separated into his early, middle and later years. This author will analyze the form and characteristics of Haydn’s compositions in his later years through his “Piano Sonata in E♭Major, Hob.XVI:49”, one of the mostnotable piano sonatas written in his later years. F. Chopin (1810-1849) is a representative composer of the Romantic period who composed over two hundred works for the piano, which are grand in nature and written with lyrical melodies, and known as the ‘Poet of the Piano’ The “Polonaise in F♯minor, Op. 44” uses a rhythm borrowed from the style of Polish folk songs and creates an overall grand atmosphere with its own ornate techniques and melody, expressing his patriotism and national characteristics. This author plansto analyze his independent music compositions through the changes in basic polonaise rhythm, changes in melody, and changes in form in his works. B. Bartók (1881-1945) is a representative composer of Hungary, and his works display strong democratic propensity. He added his own individuality to Hungary’s national elements, which influenced his many works of piano among other pieces of works. He used irregular rhythms and syncopation, unusual rhythms and accents on weak beats in anticipation of creating percussion-style results through changes in rhythm and rhythmic ostinatos. This thesis will also examine his nationalistic propensity through the appearance of various dissonances, the chromatic scale and diatonic scale, and the C Lydian mode through his “Suite, Op.14”.