This thesis explores the folk elements in Bartók's Out of Doors Suite Sz.81, with a particular focus on rhythm and meter, which are essential in capturing the character of folk music. While folk music has long inspired composers, it was neither rigorously studied in academic contexts nor fully integrated into the Western classical repertoire in an intellectual or artistic sense before Béla Bartók. Moving beyond simple quotation, Bartók incorporated core features of authentic Romanian and Hungarian folk traditions, such as polymodality, rhythm, meter, and intervallic relationships, into his works. Chung’s analysis of the Out of Doors Suite predominantly focuses on its harmonic elements, whereas discussions of rhythm and meter remain underexplored and lack a comprehensive methodological framework. By applying Harald Krebs’ methodology for metrical analysis, this thesis emphasizes Bartók’s innovative use of metric dissonance, providing a deeper understanding of his compositional approach and complementing Chung’s harmonic analysis.