A Study of Localization Musical Content for Kodály’s Piano Pieces Op.3

• Main Authors: Chia-li Kao, 高佳莉
• Other Authors: Fung-ching Cheng
• Format: Others
• Language: zh-TW
• Published: 2012
• Online Access: http://ndltd.ncl.edu.tw/handle/35000227644742032905

碩士 === 國立臺南大學 === 音樂學系碩士班 === 100 === This study focused on analyzing musical content for Kodály’s “ Nine Piano Pieces Op.3” and exploring his application of Hungarian folk musical elements. The research objects were nine pieces in《Nine piano pieces op.3》of Kodály published by “Masters Music Corp.” Three research methods were adopted in this study, “Documentary Analysis”, “Musical Analysis”, and “Content Analysis”. From documents, the researcher learnt true visage of Hungarian folk music was contained in farmers’ tunes of Hungarian countryside; also reviewed the concluded the occupied historical time background and growing background in countryside, which affected of Kodály and his individual composition characteristic; and acknowledged that repetition, unification, contradistinction, and diversification were the aesthetic fundamental of piano music. For music analysis methods, this study adopted conventional musical analysis methods to analyze the musical content of nine pieces of Op.3 of Kodály. Self designed research tools “Music Content Overall Analyzing Table”, “Music Content Induction Table”, and “Localization Musical Elements Category Table” were used for analysis and data compilation. Tool categories were divided into “rhythm”, “melody”, and “harmony” three dimensions. Musical content was determined by qualitative analysis, and then quantitative analysis methods were adopted to compute application proportions of musical elements localization in order to determine the levels and degrees of localization. Conclusions of this study based on outcomes and discoveries of researches were as following: 1. Musical connotation of nine piano pieces of Op.3 of Kodály succeeds and innovates of traditional music and multivariate blended with Hungarian folk music and European music. 1) Succeeds traditional tonal music vocabulary and were applied in tunes diversely. 2) Does not follow contemporary music revolutionary trends, he developed individual characteristics of composition techniques. 3) Soaked with versatile music styles, ingeniously blended as a whole. 2. Nine piano pieces of Op.3 of Kodály adequately presented characteristics of Hungarian folk music on rhythm, melody, or harmony. 1) The rhythmic element of folk music employed in this work was mainly repetition rhythm style. 2) The melodic elements of Hungarian folk music applied in this work were forth and fifth parallel form structural, each took 30 percent and 20 percent portion respectively. The pentatonic scales were blended into church mode or natural minor mode melodies in segments. 3) The harmonic elements of folk music used in this work were primarily open fifth, which took half portion, and secondarily open fourth. Based on the above conclusions, the researcher makes recommendations to future researchers in the end of this study.