Bela Bartok의 Mikrokosmos에 關한 音樂敎育的 考察 = Educational Consideration on Bartok's Mikrokosmos
저자
발행기관
학술지명
권호사항
발행연도
1982
작성언어
Korean
KDC
370.000
자료형태
학술저널
수록면
259-275(17쪽)
제공처
소장기관
Good piano music for beginners has always been scarce. It 1st true that masters such as Johann Sebastian Bach or Robert Schumann also occasionally composed "easy" piano music. However, the absolute beginner is just as excluded from the Little Keybord Book for Anna Magdalena Bach Or the Little Preludes and Fugues as the Album for the Young - or, to remain in the present, as Igor Stravinsky's Les Cinq Doigts and Paul Hindemith's Easy Five-tone Pieces. In the course the 19th century this gap was overgrown by a proliferating musical sub-culture which for the greater part was fed by composing piano teachers of publishers.
Alredy long before Mikrokosrnos, Beta Bartok also published light piano works, which nevertheless were not pieces for beginners. The collection For Children was composed 1908/09 as the first outcome of his researches into Hungarian and Slavonic folk melodies. In 1907 Bartok had become professor of piano playing at the Academy of Music in Budapest. Just how seriously he took his teaching tasks, also as a composer, can be seen from further instructional works of that period: the Ten Little Piano Pieces (1908) and the piano manual (1912/13) produced together with Sandor Reschofsky. It may seem amazing that in the years of the breakthrough of new music Bartok had no scruples about making his introduction with simple children's pieces. In the meantime he knew that he was being supported by a musical basis which was no less "new" than severance from tonality among the members of his own generation, a foundation which, however, was eminently suited to the undermanding requirements of simple piano pieces: music of the Hungarian peasants. He and Kodaly had realised that this peasants music was completely different from what one had formerly regarded as Hungarian "folk music". All his compositions of this kind are based, directly or indirectly, upon folk music.
The beginnings of the Mikrokosmos go back as far as the year 1926. Probably Bartok originally had in mind pieces for his son Peter, who was born in 1924. The last piece of Volume II is expressly dedicated to him (Petere). A report by Bartok in 1940 describes how the work came to be written: "Already at that time (1926) I was thinking about writing easy piano music for elementary instruction. Actually I did not get down to the work until the summer of 1932. At that time I turned out about 40 pieces, from 1933 to 1934 again about 40. and in the following years approcimately 20, until finally in 1938 about a hundred and something pieces were ready. However, mere were still some gaps. I filled these up last year''. It can be deduced from this report that Mikrokosmos was composed between 1926 and 1939, and that the greater part of the wwk was done between 1932 and 1939.
There are two aims in the collection. First, the pupil is to achieve a good and musically sompetent style without the usual unmusical "exercises", the pernicious influence of which is only too obvious later on. Second, the beginner is io so acclimatized to modern musical idiom and so well educated and be able to recognize in it the characteristics both of progressive and conservative styles.
The individual pieces in Mikrokosmos are in different forms, beginning with simple eight-bar structures and leading to designs of much greate' complexity. The pupil can play the easiest pieces after a month or tho. As well as a greal variety of rhythms one finds different kinds of counterpoint, from simple pedal point to canon. Many pieces are bitonal. others ard pentatonic, others again are in the church modes. In respect of melody, pedagogic conderations are also to the fore, so that characteristics of the toneseries used are given prominence, and particular intervals emphasized. With three exceptions the 153 pieces in Mikrokosmos are based on original melodies composed by Bartok.
In the Preface to the Mikrokosmos Bartok recommends the following procedures to meet individual needs; (a) the order of pieces may bealtered in accordance with the ability of the pupil, (b) many of the pieces may be blayed faster or slower than indicated, (c) teacher and pupil habe the opportunity of making a choice, since there are frequently several pieces dealing with the same problem, (d) the teacher should invent exercises for the pupil, and (e) the teacher should "present pieces in any way that seems best to the student's needs." Bartok believed that certain pieces were interesting because of their construction in terms of unusual rhythmic patterns, changes of meter or tempo, hand crossings, colorful tonality, use of the pedal, or irregularity of phrase structure. Comprehensive works with an educational purpose as valuable as Mikrokosmos are rare in the History of art. Mikrokosmos gives important advice not only to pianistsbut also to composers.
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