匈牙利音樂在〈柯大宜無伴奏大提琴奏鳴曲作品八〉的應用暨樂曲研究分析

Abstract

匈牙利是個民族性相當強烈的國度，當中著名作曲家柯大宜的無伴奏大提琴奏鳴曲作品八可以說是繼巴赫無伴奏大提琴組曲之後最為突出的無伴奏大提琴作品。作品八能成為數一數二的顛峰之作，不僅僅是因為柯大宜在作品八中極盡所能地嘗試大提琴這項樂器的聲響可能性與挑戰其技術的高度，更是因為在其作曲手法上與匈牙利民間音樂之間深厚的連結。 本文旨在釐清匈牙利音樂的脈絡與類別，並且對之應用在作品八中的部分加以探討。從最初匈牙利民間音樂的分類：舊風格、新風格……等的解說，一直到作品八的創作背景、柯大宜所使用的特殊演奏法，以及匈牙利音樂的應用等等，配合譜例說明，望能使讀者對匈牙利的民間音樂以及作品八能有更全面性的暸解。

Hungary is a country with a strong national character. Kodály, a famous composer from Hungary, wrote the unaccompanied Cello Sonata, op. 8, which is said to be the most outstanding work for unaccompanied cello after Bach’s Cello Suites. The sonata is arguably one of the greatest musical works in the genre. Not only did Kodály explore a wide range of timber on the cello, he also expanded the instrument’s technical possibilities to new heights. Moreover, the strong link between the composition and Hungarian folk music, points out the nationalistic quality which is emphasized as the focal point of the work. The purpose of this paper is to clarify the context and categories of Hungarian music, and to explore how the Hungarian musical elements are used in the sonata. Starting with the classifications of Hungarian folk music: old style and new style, to the creative background of the sonata; the special technical skills used by Kodály, and the application of Hungarian music. Following what Kodály wrote on his score, it is hoped that readers can have a more comprehensive understanding of Hungarian folk musical elements in his sonata.