선법의 지도 방안 연구

Teaching Strategies for Modes focusing on Bartok s No. 2 from 8 Improvisations on Hungarian Peasant Songs

The purpose of this paper is to present the teaching strategies of the bimodal combinations in 20th-century music. Bartok s No. 2 , from 8 Improvisations on Hungarian Peasant Songs, op.20 was selected for the purpose of introducing the usage of modes, especially bimodal combinations. He used the modalities of their native folk music a s the basis for composition and transformed these modes into the materials of a new musical language. The improvisation is comprised of four strains, three bridges and a coda. This piece i s constructed around repetitions of its main theme in different transpositions. The theme, first presented on C, is transposed E, then to Ab and, finally returns to C for the closing statement. Raising each successive strain by a major third becomes the overall pattern of the improvisation. Bartok intentionally divides the octave equally into three parts. The tonal center moves from C to E, from E to Ab, and finally from Ab to C to close the cycle. The melodic transposition from Mixolydian to Dorian dominates the entire piece: C-Mixolydian to C-Dorian in section 1 (mm. 1-9), E-Mixolydian to E-Dorian in section 2 (mm. 14-22), and Ab-Mixolydian to Ab-Dorian in section 3 (mm. 30-37). The fourth section is similar to the first section. The bimodal combination based on the semitone continues throughout the entire piece: C-Mixolydian in the right hand against C-Ionian in the left hand in section 1, E-Mixolydian in the right hand against E-Ionian in the left hand in section 2, Ab-Mixolydian in the right hand against Ab-Ionian in the left hand in section 3. Teaching strategies are instructed to identify the four strains and three brides, to illustrate seven different kinds of modes, to describe the bimodal combinations, and to compose their own music based on these bimodal combinations.