| Abstract [eng] |
The master's thesis examines the music of Béla Bartók, exploring various possibilities of piano sound and playing. One such possibility is percussiveness, which is reflected in Bartók’s Piano Sonata Sz. 80. The thesis discusses and analyzes the first movement of this work. The aim of the thesis is to reveal the stylistic features of Bartók’s Piano Sonata Sz. 80 by identifying elements of percussive sound in different pianists’ interpretations. The research methods applied in the thesis include theoretical (analysis of scholarly literature, source analysis, historical descriptive and comparative methods) and empirical (formal analysis, interpretation analysis) approaches. The thesis consists of an introduction, two chapters, conclusions, and a list of references and sources. The first chapter describes Béla Bartók’s creative path, highlights the most important features of his musical language, and analyzes the issue and expression of percussiveness in his piano works. The second chapter describes the form, style, and percussiveness of the Piano Sonata Sz. 80. The contrasting interpretations of two pianists – Zoltán Kocsis and Rachel Cheung – are compared in terms of rhythm and tempo, articulation, dynamics, and percussiveness. |
