Analysis Of Performance Styles And Technical Difficulties Of Bart(?)k’s Piano Sonata

Bela Bartok,an outstanding Hungarian composer,pianist,and ethnomusicologist in the 20th century,devoted himself to collecting and organizing a large amount of Hungarian folk music and culture,and was influenced by various composing styles,which made Bartók’s music composition style all-embracing and his composing and performing techniques very innovative.The year 1926 was the mature period of Bartok’s composition and the birth of the Piano Sonata,a work of great significance as the only piano sonata he composed in his lifetime.This thesis starts from the Chapter 1 "Overview of the work"(Section 1"Background of the composition" and Section 2 "Preparation for the performance")and introduces the theme of the thesis—"The Analysis of Performance Styles and Technical Difficulties of Bartók’s Piano Sonata".First of all,the author analyzes the performance styles of this piece in Chapter 2 "Analysis of Performance Styles",using literature reference and theoretical analysis as the macro research method,combining theoretical knowledge and performance practice.In Section 1.the author makes a detailed style grasp and sort out the three movements respectively,so that performers can correctly grasp the different styles.In Section 2 "Dynamic and Timbre" and Section 3 "Rhythm and Tempo",the author also analyzes the melody and phrasing,the different dynamics and accentuations,the sporty rhythm,the different tempos and speeds,and the rubato.Secondly,the summary and solution of technical difficulties in Chapter 3"Analysis and Solution of Technical Difficulties" is also one of the main points of this thesis.In the 3 sections "Single technical difficulties","Multiple technical difficulties",and "Fingerings and redistributions",the author provides some references for the performers in terms of playing techniques.These sections analyze the technical difficulties in terms of fast octaves,clusters,two-note slurs,chord leaps,finger extensions and contractions,and polyphony.The Section 3 "Fingerings and redistributions",the author discusses the use of the other hand to play a part of an awkward note written for one hand,and the arrangement of difficult passages.This will reduce to some extent the difficulty of playing and thus solve the technical difficulties,and may have some reference value for performers.The author expects that the summaries of this thesis will be helpful for those who need to play and analyze Bartók’s Piano Sonata.