바르톡(Bela Bartok)의 바흐 <평균율> 편집에 관한 소고

저작시기 2008.10 |등록일 2013.03.05 어도비 PDF (pdf) | 37페이지 | 가격 6,000원

서지정보

발행기관 : 한양대학교 음악연구소 수록지정보 : 음악논단 / 22권
저자명 : 강만희

목차

1. 들어가는 말
2. 18-19세기 바흐의 출판
3. 바르톡의 『평균율』 편집 및 출판
4. 바르톡 판의 내용분석
5. 맺는 말
참고자료
English Abstract

한국어 초록

In 1907, Béla Bartók, a newly appointed young professor of piano at the Budapest Conservatory of Music, was invited to edit essential piano repertoires, including Johann Sebastian Bach"s Well-Tempered Clavier by the Hungarian music publisher, Karoly Rozsnyai. Bartok had studied many works, including the Well-Tempered Oavier, by J. S. Bach. Bartók edited 48preludes and fugues into four volumes and they were published in 1907 and 1908.
Bartók"s edition of the Well-Tempered Clavier can be judged as a valuable addition to the modem piano of pedagogical literature. It consists of several unfamiliar contents that average piano students, teachers, and performers usually do not expect to discover in his editions.
Firstly, he did not arrange the Well-Tempered Oavier in the order of keys; he based the arrangements on their levels of difficulty. He did not break the prelude and fugue pair; he rather kept them as a set. He carefully considered every aspect of all elements in each set. Secondly, he used multiple staves for the 4- and 5-voice fugues. This visual presentation naturally led the reader into an analytical mind-set. The shape and function of each voice were clearly presented on an individual staff, thus it was easy to understand the structure of the overall fugue. He added reinforcing bass and additional notes to create different tone colors as he emphasized the importance of understanding the sounds of the organ as a model for certain passages and works. Thirdly, he tried very hard to accomplish his goal of teaching proper phrasing in each work Bartok marked every detail of phrasing and articulation, for which he developed new symbols for dynamics, pedaling, legato, and staccato. Also, he combined multiple meters, freely adapted his new meters, and altered bar lines for deliberation of his calculated intentions. Lastly, Bart´ok applied the editorial contents which he considered and applied to Bach’s Well-Tempered Clavier for his compositions. Detailed directions, clear phrasing marks, precise tempo indication, mixed meters, altered bar lines, additional appropriate expression marks, and etc. are found both in his edition of Well-Tempered Clavier. In addition, they can also be found in many of his own works, some even considered as master pieces, such as his String Quartets, Mikrokosmos, and other orchestral works.
One who studies or teaches the piano should consider examining and studying Bartok’s edition of J. S. Bach’s Well-Tempered Clavier not only for many surprises and unexpected new ideas, but also for Bartók’s sincere approach to a masterpiece. Bartók’s intention for his well-demonstrated edition was to teach his Hungarian students, as well as others, in his hopes to deliver his own interpretations to the world and the future.

영어 초록

In 1907, Bela Bartok, a newly appointed young professor of piano at the Budapest Conservatory of Music, was invited to edit essential piano repertoires, including Johann Sebastian Bach&quot;s Well-Tempered Clavier by the Hungarian music publisher, Karoly Rozsnyai. Bartok had studied many works, including the Well-Tempered Oavier, by J. S. Bach. Bartok edited 48preludes and fugues into four volumes and they were published in 1907 and 1908.
Bartok&quot;s edition of the Well-Tempered Clavier can be judged as a valuable addition to the modem piano of pedagogical literature. It consists of several unfamiliar contents that average piano students, teachers, and performers usually do not expect to discover in his editions.
Firstly, he did not arrange the Well-Tempered Oavier in the order of keys; he based the arrangements on their levels of difficulty. He did not break the prelude and fugue pair; he rather kept them as a set. He carefully considered every aspect of all elements in each set. Secondly, he used multiple staves for the 4- and 5-voice fugues. This visual presentation naturally led the reader into an analytical mind-set. The shape and function of each voice were clearly presented on an individual staff, thus it was easy to understand the structure of the overall fugue. He added reinforcing bass and additional notes to create different tone colors as he emphasized the importance of understanding the sounds of the organ as a model for certain passages and works. Thirdly, he tried very hard to accomplish his goal of teaching proper phrasing in each work Bartok marked every detail of phrasing and articulation, for which he developed new symbols for dynamics, pedaling, legato, and staccato. Also, he combined multiple meters, freely adapted his new meters, and altered bar lines for deliberation of his calculated intentions. Lastly, Bart´ok applied the editorial contents which he considered and applied to Bach’s Well-Tempered Clavier for his compositions. Detailed directions, clear phrasing marks, precise tempo indication, mixed meters, altered bar lines, additional appropriate expression marks, and etc. are found both in his edition of Well-Tempered Clavier. In addition, they can also be found in many of his own works, some even considered as master pieces, such as his String Quartets, Mikrokosmos, and other orchestral works.
One who studies or teaches the piano should consider examining and studying Bartok’s edition of J. S. Bach’s Well-Tempered Clavier not only for many surprises and unexpected new ideas, but also for Bartok’s sincere approach to a masterpiece. Bartok’s intention for his well-demonstrated edition was to teach his Hungarian students, as well as others, in his hopes to deliver his own interpretations to the world and the future.
*원하는 자료를 검색 해 보세요.
      최근 구매한 회원 학교정보 보기
      1. 최근 2주간 다운받은 회원수와 학교정보이며
         구매한 본인의 구매정보도 함께 표시됩니다.
      2. 매시 정각마다 업데이트 됩니다. (02:00 ~ 21:00)
      3. 구매자의 학교정보가 없는 경우 기타로 표시됩니다.
      4. 지식포인트 보유 시 지식포인트가 차감되며
         미보유 시 아이디당 1일 3회만 제공됩니다.
      상세하단 배너
      최근 본 자료더보기
      상세우측 배너
      추천도서
      바르톡(Bela Bartok)의 바흐 &lt;평균율&gt; 편집에 관한 소고