音樂創作的堅持與妥協－巴爾托克根植於Transylvania傳統的《羅馬尼亞民間舞曲》

Abstract

Abstract Bela Bartok was a Hungarian composer, pianist and ethnomusicologist who took interest in and devoted himself to the study of folk music.He was a versatile, prolific musicologist whose numerous works were created by adapting some original pieces into versions of orchestral music and dance music in the form of a suite. Romanian Folk Dances, composed in 1915, was one of his great piano pieces based on seven Romanian tunes from Transylvania.Two years later, i.e. in 1917, it was rearranged into an orchestral ensemble. The motivation behind the adaptation, whether it was for the needs of the performers or simply as a result of creative introspection and reflection, is the first question we will deal with in this paper. Our second purpose is to find out more about the string orchestra peculiar to Transylvania, especially the acoustic features displayed by the three-stringed viola, when played to provide the musical accompaniment with chords.Transylvania was the birthplace of both Bela Bartok and Romanian Folk Dances. To realize how he grasped the very essence of Transylvania’s small ensemble and its musical language while orchestrating the suite, we will examine its six short piano pieces one by one, with our attention focused mainly on three aspects, namely Instrumentation,tempo, and heterophony. It is hoped that our detailed investigation can lead us to a significant discovery about how he admitted both traditional and modern elements into his musical creation, that is, how he tried to keep a balance between persistence and compromise. Key words： Transylvania、accoustic、string orchestra、Romanian Folk Dances