巴爾托克《粗獷的快板》、《組曲，作品十四》、《八首匈牙利農歌即興曲，作品二十》之作品詮釋報告

Abstract

貝拉．巴爾托克（Béla Bartók, 1881-1945）為作曲家、鋼琴家、教育家及民族音樂學家。受到十九世紀末的民族主義（Nationalism）思潮影響，深信匈牙利的民間音樂只存在於農民音樂中，並堅信源於大自然的民謠是音樂最初的形式。所以，巴爾托克深入匈牙利的窮鄉僻壤，將採集的民謠集結成冊，並大量運用民謠曲調作為創作素材，或直接將民謠旋律用於作品中，進而將民謠的使用成為根深蒂固的創作元素。巴爾托克的創作手法，融合教會調式（church mode）、五聲音階（pentationic）、複調式（polymode）、雙調性（bitonality）、音堆（tone cluster）、擊奏（martellato）等創作手法，再結合傳統的精簡曲式，成為他特有的音樂語法，對二十世紀音樂家有承先啟後的意義。 本論文，筆者將探討1911-1920年巴爾托克的三首鋼琴作品《粗獷的快板，作品十一》（Allegro Barbaro Sz. 49, 1911）、《組曲，作品十四》（Suite Op. 14, Sz. 62, 1916）及《八首匈牙利農歌即興曲，作品二十》（Improvisations on Hungarian peasant songs, Op.20, Sz. 74, 1920），研究其音樂動機、創作手法，並分析其樂曲、探討樂曲詮釋及農歌旋律之使用手法。全文共分為六章：第一章，緒論，第二章，巴爾托克的生平簡介，第三章，巴爾托克的創作風格與重要鋼琴作品簡述，第四章，樂曲分析，第五章，樂曲詮釋，與第六章之結語。Béla Bartók（1881-1945）was a leading composer, a pioneer of ethnomusicology, a pianist, and an educator influenced greatly by the Nationalism of the late nineteenth century. He strongly believed that the Hungarian folk music only existed in the countryside and the folk music from the nature is the origin of all music. He therefore went to the most remote villages in Hungry to collect folk melodies and employed them widely in his compositions. Expect for the use of folk melodies, blending the folk materials and the elements of the church mode, pentatonic, polymode, bitonality, tone cluster, among others, into the traditional forms became Bartok’s own special musical language that deeply influenced the musicians of the twentieth century. In this thesis, the author discusses three piano works of Bartok written in the years of 1911 to 1920, Allegro Barbaro, Sz.49, Suite, Op. 14（Sz. 62）, and Improvisations on Hungarian peasant songs, Op. 20（Sz. 74）, mainly by investigating the compositional style, the use of the folk materials, and the interpretation of the pieces. This thesis includes six chapters, chapter one is the introduction; chapter two contains the brief biography of Bartok; chapter three talks about Bartok’s compositional style and the representative piano works; chapter four is the analysis of of Allegro Barbaro, Suite Op. 14 and Improvisations on Hungarian peasant songs；chapter five is the interpretation of the three sets of pieces ; chapter six is the conclusion. Hope the result of this study is not only beneficial to the author, but also helpful to whoever that is interested in this subject.