Abstract: Structural and formal analysis of the First Movement of Kodály’s Solo Cello Sonata Op.8, focused on the modal inflections, usage of the pentatonic scale as structural element and other aspects of the Hungarian folk music that influenced the composer’s musical language. It aims at investigating how Kodály employs the sonata form in a work rooted on folk material and how he deals with the listener’s expectations, departing from concepts taken from Meyer’s theory of emotions, Epstein’s concept of structural downbeat and structural accent, and E. T. Cone’s concept of frame. Regarding interpretation, it includes a discussion about the use of rubato and rhythmic flexibility derived from the improvisatory character of Hungarian elements present in the piece.

Keywords: Kodály, sonata, cello, theory of emotions, structural downbeat.

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