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벨라 바르톡의 작품에 활용된 민속선율연구 : 그 단계별 접근 An Approach by Graded Stages
조치노 세계음악학회 2003 음악과 문화 Vol.9 No.-
In 1906, Bartbk made his own field recordings of folk music in Hungarian villages. He found an incredible variety of old ecclesiastical or old Greek modes and the ancient pentatonic scale in the melodies of the Transylvanian Hungarians. And he found the potential for new harmonizations in the melodies. Among the characteristics of what Bartbk refer red to as the 'old Hungarian folksong style is a pentatonic scalar basis for the melodies, with occasional transformations of the latter into the Dorian, Aeolian or Phrygian mode. Among the characteristics of what he referred to as the new Hungarian folksong style' is a heptatonic modal basis for the melodies, including Dorian, Aeolian and Phrygian scales with strong pentatonic inflections, as well as an occasional prominence of Mixolydian and even major scales. Barto´k divided the stock, strophic material of Hungarian folk into three classes: A. 'old'; B. 'new'; C. 'miscellaneous'. First came the melodies of twelve or eight syllables(Subc1ass 1 ), which possessed the most ancient stanzaic structure. Then followed the melodies of six syllables(Subc1ass 2), and finally the derived structures(with seven syllables(3), with eleven(4), with ten(5), with nine(6)). More complicated(asymmetrica1) formations were deemed Class B. Bartbk also regarded one particular rhythmic phenomenon as being Class B: the dotted rhythm - quaver+dotted crotchet; dotted crotchet+quaver - with its accommodation of Hungarian speech patterns. He believed that Class A melodies which showed such a rhythmic characteristic were transitional towards the 'new' style of Class B, where the dotted rhythm is generally found. At the time, however, he did not consider it necessary to illustrate this historical line of development in the system itself, only hinting at it in his detailed descriptions. Although Bartcik did not divide the stylistically highly unified Class B into subclasses, he did so with his Class C, distinguishing seven subclasses based on a variety of criteria. In addition to the folk modes 13art6k found three kinds of prevailing rhythmic formations in Eastern European rural music: 'parlando rubato', a free, declamatory or recitative type ; 'tempo giusto', a more or less rigid type, in which change of barring may occur ; and the so-called 'dotted' rhythm, where accentuated short values are followed by non-accentuated long values. Above all, however, was Barto´k's supernal talent that enabled him to homogenize polyglot musical folklore and develop five innovative levels of complexity for its use in composition. (1) Ge78nuine folk tunes are featured, and the invented additions are of secondary importance. In other words, the folk tune is the 'jewel' and the added parts function as its 'mounting', (2) the folk tune and the invented material are treated equally, (3) the folk tune is presented as a kind of musical 'motto', and the invented material is of greater significance, (4) the composition is based on themes which imitate genuine folk tunes, (5) the highest level is abstract composition in which neither folk tune nor its imitation is used, but the work is nevertheless pervaded by the 'spirit' of folk music.
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조치노 濟州敎育大學校 1997 論文集 Vol.26 No.-
Since 1960, a new analytical technique has been introduced. It is set theory. This technique derives from the mathematical principle of set theory, and in view of its particular applicability to atonal music. The most significant analytical contribution has been made by Allen Forte. He published the first extended account of set theory in relation to the structure of atonal music (The Structure of Atonal Music 1973). With this theory Forte has provided analysis of atonal works by Schoenberg, Webern, Berg, Stravinsky, Busoni, Bartok, Ives, Scriabin, Varese. The fundamental concept of set theory is that of membership. A set is made up of the element that are members of that set. A pitch-class represents all instances of the same pitch, whatever the octave position. An interval-class is one of the six basic close position intervals, from minor second to tritone, to which all other intervals can be reduced by menas of inversion or by adjustment of octave position. This process reduces the total number of such collection, or set, to manageble proportions, by arguing that it is possible to relate certain apparently different collections to the same basic collection, or Prime Form. Thus, if C, Db, Eb is a Prime Form (because the smallest of the two interval classes is placed first), then Db, Eb, C (and C, Eb, Db) can be regarded as permutations or derivations of this same initial collection, rather than as different collections. As a result, the total number of Prime Form sets which contain between three and nine pitch-class is mere 220.
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현대 피아노 교재 연구 : 벨라 바르톡의 < 미크로코스모스 > 제3권을 중심으로 An Analysis of Mikrokosmos Vol. 3 by Bela Bartok -
조치노 한국음악학회 1995 한국음악학회논문집 음악연구 Vol.12 No.1
Be´la Barto´k(1881-1945; Hungary) is a great composer, pianist of the twentieth century. His musical language was his own, formed of indigenous elements, a through knowledge of the mainstream of music past and present, and his own personality. Barto´k's piano works call for special attention. He was closely associated with the instrumennt at all periods of his life as a concert virtuoso, teacher. Furthermore, he composed for the piano from the begining until the end of his career. Between 1926 and 1939 Barto´k worked on Mikrokasmos, a set of 157 piano pieces published in six volumes. The pieces are grouped according to their difficulty, from simple pieces for beginners to extremely difficult compositions for virtuoso. The complete work gives an insight into Barto´k's particulars musical world ; not only is it an encyclopedia of pianistic figures but also it is just as much a catalog of his compositional devices, for many pieces seem to be sketches for more extended compositions. General characteristics expressed in Mikrokosmos Vol.3 are summarized as follows. First, Barto´k used pentatonic scale, major and minor scale, and the church mode, especially he used church mode and pentatonic scale more frequently. Second, the syncopation is used frequently which is derived from characteristic feature of Hungarian. Third, he used regular and irregular alterations of melodys, rhythms, harmonys and meter.
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