匈牙利農民音樂風格在鋼琴作品中之體現—以李斯特、杜南伊、巴爾托克三首作品為例

Abstract

在民族意識興起的時代，許多作曲家開始將民間音樂素材加入鋼琴音樂創作中，而匈牙利因其地理位置特殊，經歷多次的侵略與統治，由眾多民族所組成，因此擁有豐富多樣的民間音樂材料，然而這些作曲家並沒有注意到這些民歌的來源與區別，直到巴爾托克等民族學家鄉野調查整理後，將匈牙利的民歌區分為「流行藝術音樂」與「農民音樂」兩種類型討論。而本文主要探究匈牙利「農民音樂」風格在鋼琴作品中之體現，以李斯特《第十三號匈牙利狂想曲》(Hungarian rhapsody in a minor No.13, S.244 )、杜南伊《匈牙利民歌主題變奏曲，作品29》(Variations on a Hungarian Folk Song op. 29)及巴爾托克《八首匈牙利農民即興曲，作品20》(Improvisations on Hungarian Peasant Songs op. 20)三首民歌風格之鋼琴作品為例，他們皆有使用到匈牙利農民歌風格的曲調。藉由了解李斯特、杜南伊與巴爾托克在鋼琴創作上的個人風格特色之後，探究匈牙利農民音樂風格在不同的作曲家筆之運用有何異同。例如分析作品中的曲調、節奏特徵、或調式等與農民歌之關聯性；以及在演奏上的技巧、速度、節奏、力度運音法等詮釋風格，讓讀者對匈牙利民農歌風格有更深一層的認識，使演奏詮釋能更貼近其風格韻味。本文共分為七章，第一章為緒論，說明研究動機、目的、範圍與研究方法；第二章分為兩節，第一節以巴爾托克對農民歌之定義，統整農民音樂風格與發展，並說明流行藝術音樂與農民音樂區別之看法，第二節提出農民音樂風格對鋼琴作品的影響與應用。第三至五章為本文所選的三首匈牙利作品之探討與樂曲分析，首先提出作曲家風格與特色，針對每首不同特色加以說明其創作之手法並分析樂曲。第六章為詮釋探討，針對速度、樂曲性格、節奏特色與力度層次等提出說明，給予讀者詮釋上的建議。第七章為結論，總結以上三位匈牙利籍作曲家，他們在詮釋匈牙利民歌上有許多不同的面向及手法，透過創作風格的整理及樂曲分析，了解民歌素材與使用手法及風格韻味要如何展現在自己的音樂中。

In the era of the rise of national consciousness, many composers began to add folk music materials into their works. Due to its special geographical location, Hungary has experienced many invasions and dominations. It is composed of many ethnic groups and has rich and diverse folk music materials.These composers did not pay attention to the origin and difference of these folk songs until Bartok and other ethnologists conducted field investigations and classified Hungarian folk songs into two types:"Popular Art Music" and "Peasant Music". This article mainly explores the Hungarian "Peasant Music" style in the piano works, taking Liszt's “Hungarian Rhapsody in a minor No.13, S.244”, Dohnányi 's “Variations on a Hungarian Folk Song op. 29” and Bartók's “Improvisations on Hungarian Peasant Songs op. 20” three piano works in the style of folk songs as examples, They all used tunes in the style of Hungarian peasant songs. After understanding the personal style characteristics of Liszt, Dohnányiand Bartók in piano creation, explore the similarities and differences in the use of Hungarian peasant music styles by different composers.For example, analyze the relationship between the tune, rhythm feature, mode, etc. in the work and the peasant song, readers can have a deeper understanding of the style of Hungarian folk songs. so that the interpretation of the performance can be closer to its style and charm.This paper is divided into seven chapters. The first chapter is the introduction, which explains the motivation, purpose, scope and research methods of the research; The second chapter is divided into two sections. The first section uses Bartók's definition of peasant songs to unify the style and development of peasant music, and explains the difference between Popular Art Music and Peasant Music. The second section proposes the influence and application of peasant music style on piano works. The third to fifth chapters are the discussion and music analysis of the three Hungarian works selected in this paper. First, the composer's style and characteristics are proposed, and the composition of each song is explained and the music is analyzed. Chapter 6 discusses interpretation, and provides explanations for speed, musical character, rhythm characteristics and dynamic levels, and gives readers interpretive suggestions. Chapter 7 is the conclusion, summarizing the above three Hungarian composers. They have many different aspects and techniques in the interpretation of Hungarian folk songs. Through the arrangement of the composition style and the analysis of the music, we can understand how the folk song materials, usage techniques and style and charm should be displayed. in your own music.