The Playing Technique and Interpretation of《 Sonata for Violoncello Solo, Op. 8 》by Kodály
碩士 === 國立臺南藝術大學 === 音樂學系碩士班 === 99 === Long before Zoltán Kódály (1882-1967) became a well-known music educator and ethnomusicologist, he started to compose his own music. Most of his cello works were completed during 1898 to 1927. In all the masterpieces the “Unaccompanied Cello Sonata, Op. 8” exce...
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| Format: | Others |
| Language: | zh-TW |
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2011
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| Online Access: | http://ndltd.ncl.edu.tw/handle/88602000618257234224 |
| Summary: | 碩士 === 國立臺南藝術大學 === 音樂學系碩士班 === 99 === Long before Zoltán Kódály (1882-1967) became a well-known music educator and ethnomusicologist, he started to compose his own music. Most of his cello works were completed during 1898 to 1927. In all the masterpieces the “Unaccompanied Cello Sonata, Op. 8” exceeds all others for Kódály ingeniously combined several basic music techniques and made it an innovative one. This work not only is considered by many composers that it is the writing standard for cello works but also furthers the technique level for cellists. All of these have made this work become the most representative one of all Kódály’s writings.
In this paper, the first chapter will be the introduction to Zoltán Kódály’s life events and the explanations of his composing style; next the composing background and the analysis of the music form will be studied in chapter two. In the third chapter, the research focuses on the techniques studies of cello unaccompanied works including the historical background of the unaccompanied cello works and the analysis of Zoltán Kódály’s unaccompanied cello work from the first movement to the last. Chapter four reveals my own interpretation and thoughts to this work; first the suitable fingering and bowing would be arranged for this piece and then using the techniques to bring the imaginations and sounds to life. The last chapter would be Janos Starker’s point of view to Zoltán Kódály’s “Unaccompanied Cello Sonata, Op.8.” Studies on comparing the similarities and dissimilarities between these two musicians’ interpretations would be discussed in this chapter.
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