벨라 바르톡 < 미크로코스모스 > 제 6 권의 분석 연구 = A Study of Bela Bartok's Mikrokosmos Vol. 6

다국어 초록 (Multilingual Abstract)

Be´la Barto´k(1881-1945; Hungary) published two thousand folk tunes, chiefly from Hungary and Rumania, these being only a part of all that he had collected in expeditions rainging over Central Europe, Turkey, and North Africa. He wrote books and innumerable articles on folk music, made settings of or based compositions on folk tunes, and developed a style in which he fused folk elements with highly developed techniques of art music more intimately than had ever been done.
He was a virtuoso pianist and a teacher of a piano at the Budapest Academy of Music from 1907 to 1934. Between 1926 and 1939 Barto´k worked on Mikrokosmos, 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. Barto´k's ideal was to express, in twentieth-century terms, Bach's contrapuntal style, Beethoven's art of thematic development. Debussy's discovery of sonorous value of chords.
Mikrokosmos are written in a variety of keys and furthermore they are not limited to the Major-Minor tonal system. Especially Barto´k used church mode and pentatonic scale more frequently. The rhythm of syncopation is used frequently which is derived from characteristic feature of Hungarian. Beginning with the volume 6, metrical changes in No. 140 and No. 141 are frequentry encountered. No. 140 seems to be a study in that respect for it contains thirty-seven changes of times. Additive or irregular rhythms appear in the No. 148-153. The textures of Mikrokosmos maybe prevailingly homophonic or be made up of contrapuntal lines carried on with secondary regard for vertical sonoroties. Harmony grows out of the character of the melodies, which may be based on pentatonic, modal, or irregular scales as well as the regular diatonic and chromatic scales. All kinds of chords appear, from triads to combinations more complex.