벨라 바르톡의 『두대의 피아노와 타악기를 위한 소나타』에 대한 연구 분석 = (A) Study based on the sonata for two pianos and percussion by Bela Bartok

다국어 초록 (Multilingual Abstract)

The field of art has been changing rapidly as world culture evolves. Music has been moving toward new forms and techniques During the Twentieth century, many composers have tried to break out of the limitations of traditional tonality ; they have also tried to invent new ideas of tonality. These attempts are reflected in I. Stravinsky's neoclassicism, A. Sh nberg, A. Berg, A. webemel's pantoral, as well as L. Janack, J. kodaly, B. Bart k's nationalism.
This paper concerns special music techniques introduced by Bartok, and his interest in folk music. Bartok systematically combines folk music with other modes of music. As a result, he has given birth to a unique mode of music, making him extremely valuable to this era of music history. Bartok perceived improvements to composition techniques as evolutionary rather than creative or revolutionary. When he composed, he based polyphony from Bach, mitif and theme from Beethoven, and new sounds and harmony from Dubusy. Through research, Bartok realized the character of percussion instrument in piano.
The "Sonata for two Pianos and Percussion addressed in this paper is unique with respect to the entire music field, because Bartok combined character of Piano sounds and percussion. This piece embodies four unique techniques. Firstly, nine percussion instruments and two pianos combine fluidly. Piano is a melody instrument, yet it because so compatible with percussion in this piece. This precisely because Bartok had realized the percussion Characteristics of piano, in addition to piano's ability to function as a melody instrument. Secondly, although music in Twentieth Century typically ignores tonality, tonality of this piece adheres to the Axis System. Thirdly, Bartok embedded the golden ratio in every part of form, even harmony and interval. Lastly, regarding the use of rhythm, he instilled Hungarian folk in this piece, achieving the fresh perception of new accent and Sounds, therefore compounding the modern effects of percussion.
Although is remains as a question how well audience could understand the use of the golden ratio in audio art, Bartok's ingenious adaptation of the golden ration reserves his works a special place in the history of modern art.

목차 (Table of Contents)

• I. 서론 = 1
• II. 바르톡의 생애와 작곡기법 = 3
• 1. 바르톡의 생애와 음악사적 위치 = 3
• 2. 바르톡의 작곡기법 = 8
• III.『두 대의 피아노와 타악기를 위한 소나타』의 음악어법 분석 = 16
• 1. 작품의 배경과 편성 = 16
• 2. 각 악장별 음악어법 연구 = 20
• (1) 제1악장 = 20
• (2) 제2악장 = 39
• (3) 제3악장 = 47
• IV. 결론 = 63
• V. 참고문헌 = 65
• ABSTRACT = 67