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학위논문 동서

Bela Bartok와 Paul Hindemith의 作曲 技法 特性 比較 硏究

김경윤

부산 : 東亞大學校 1976.

64p ; 26cm.

학위논문(석사) : 東亞大學校 大學院 : 音樂敎育專攻, `76년.

영문초록 : Motive & Process: According to Bartok, "the best way for a composer to reap the full benefits of h is studies in Peasant music is to assimilate the idiom of peasant music so completely that he is able to forget all about it and use it as his musical mother tongue". As generally accepted, it was the mission of Bela Bartok to reconcile the folk melody of his native Hungary with the main currents of European music. In the process he created an entirely personal language and revealed himself as one of the major prophets of our age. Bartoks conception and works certainly sprang up from his native Peasant music which is to be said as unique as the folk music of our own native that indeed have the delicacy and rationality. Then it would not be absurd to try to find out a parallel language between his and ours so that great encoragement would be given to the mutual approach. This is the ultimate goal and motive of this study which is but a first step to the final goal. In order to find out a common relation from those of entirely different origin, the first step must be to be thoroughly familiar with each on e of those. So the process of this study is to analize the typical points detailly. And in this study Bartok's major works sre reviewed and compared to that of Hindemith to gain better conprehension of their innovative language of music, Conclusion: Although it might seem that their endeavors to pursue the free use of twelve tones were not completely fulfiled, it is still wide open, with the diversity and innovativeness, to our further thorough study. Bartok pursued the fundamental idea that music should be pefected within the beauty of the tone itself, and Hindemith too held and succeeded it. Their music was simply the fruits of their persistent aspirations and struggles, and after all, responses to the spontane ous demand of modern life. Regarding the dissonant, chords, it is our responsibility to explore and develope new steps on the basis of what has been achieved by Bartok so that it would be a steady bridge to the coming generations. Like Bartok, Hindemith himself was a composser of having gone through many sufferings and his concern mas focussed to esterblish a completely free use of twelve tones within the context of the musical structure. Also his so called New Objectivism should be understood and accepted by all rather than by a limited range of people. Technically speaking, Hindemith utilized expanded to nality with the chromatic scale and dissonant chords in his efforts to establish the unlimited possibilities through the chromatic technique, following what had been felt by Bartok as "how-difficult it is to find out the motive and to annlize it practically and logicaly".

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