Be′la Barto′k의 Piano Suite Op.14에 관한 분석 연구

Abstract

Barto′k Be′la, one of the typical nationalistic composers in Hungary properly using classical features of the early 20th century and modern techniques, is said to build up his own characteristic musical technique by reconciling traditional folk melodies of the Eastern Europe with his own rational and mathematical compositions. While his music includes polytonality and atonality, expressionism and neoclassicism, folk elements and the so-called 20th century sounds, and so on, the musical language intended ultimately by him as a nationalistic composer lies in compact harmony, clean structure, and energetic rhythm. It does not mean, however, that he did not accept traditional ways, but instead composed many pieces where piano is played like a percussion instrument. The Suite op.14, which has been analyzed in my article, consists of four suits that may be safely said to have traditional forms: the first, third, and fourth suits take A-B-A', or three-part pattern and the second rondo. Specifically speaking, they not only give ethnic colors with frequent change in scale, tempo, rhythm, and dynamics but also use traditional techniques in their style, polytonal, and introduction of melodies. The first suite influenced by Rumanian folk dances proceeds in the diatonic scale with two-beat rhythm and shows impromptu mood. It sometimes show chromatic scale systems, uses augmented 4-do tone, and come to an end of quiet theme. The second suite employs grace notes of folk music, church melodies, and augmented 3-chord in the diatonic scale and gives national color with two-beat rhythms. The first and second suites begin and end with B♭ notes, and the second one ends with strong them. The third suite, influenced by the folk color of the Eastern Europe, uses Hungarian rhythms, strict rhythms, a Chromatic scale system, and augmented 4-do tones, ostinato patterns which are fast and irregular. Motives of the first, second, and third movements move in limited compasses, continues from recapitulation to cadence in crescendo and ends in fff, which is the most fierce movement in the suite. Being a syncopation rhythm in whole, the fourth suite consists of combined chord systems, namely minor 3-do and major 3-do, and gives rise to beautiful sounds with songs in octave of a great compass. The structure of its tune is very regular and proceeds in the same pattern to make free use of compasses from lowest to the highest. strength and weakness is designed to prepare crescendo for recapitulation, frequently march into f, ff, fff, sfff, and come to an quiet end. As such, the Piano Suite Op. 14 written by Barto′k was made systematically with his characteristic composition employing such features as shown in traditional tonal music and folk music and modern composition. One may say that the coordination of emotions in traditional western music and folk music owes much to Barto′k in that created his own musical techniques by studying Hungarian folk music in scientific and systematic ways and combining its elements with those of traditional western music.