The Study of Hungarian Musical Materials on Kodaly's Sonata for Unaccompanied Violoncello Op.8 and its Performing Interpretation

• Main Authors: Chen, Yu-Han, 陳昱翰
• Other Authors: Ouyang, Ling-Yi
• Format: Others
• Language: zh-TW
• Online Access: http://ndltd.ncl.edu.tw/handle/d8zzpa

博士 === 國立臺灣師範大學 === 音樂學系 === 106 === Zoltán Kodály and Béla Viktor János Bartók are the most representative Hungarian musicians in the 20th century. They spared no effort to apply folk musical materials in their works. Zoltán Kodály's Sonata for Solo Cello, Op.8 not only demonstrates a variety of Hungarian folk music, but also upgraded his techniques of cello playing to a higher ground. This work has won a place in all unaccompanied cello tracks after Bach’s Six Unaccompanied Cello Suites. Differ from the composition style of Western classical music, the harmonic fluctuation of Hungarian music and the rhythm of traditional dance are well expressed by Kodály with the instrument’s rich and various sounds itself. Furthermore, in order to explore a range of sound effects of the cello, it incorporates more difficulties in playing techniques, which can be a challenge to the cellist for a complete performance. Such unique musical style and his highly-challenging techniques are all attractive items for the author as the study background. This study will make an approach to the Hungarian folk musical materials as a starting point to understand the style and its spiritual meanings from the peasant music records collected by Bartók and Kodály. Then, a complete analysis is focused on the Hungarian musical elements presented in Kodály's Sonata for Solo Cello, Op.8. The study will further explore the rigorous attitude of the Hungarian musicians towards the collection of folk musical materials and figure out their thoughts and inheritance revealed therein. To mention about the musical interpretation at the end, the author will provide the personal views and perspectives on various Hungarian folk music styles performed during the whole song in accordance with the composer's notation. A more in-depth study of possible technical problems will be discussed. This study is for the purpose of giving a more comprehensive direction for performers on preparation and interpretation skills.