مطالعه ي برخي از رويكرد هاي بلابارتوك در آهنگسازي، بر اساس ملود يهاي محلي مجار

A Study of Some Bela Bartok’s Approaches to Composition, in the field of Hungarian Folk Melodies

چكيده آن چه كه سبب شده است بارتوك 1 موضوع اين پژوهش قرار گيرد، منحصر به فرد بودن او در زمينه ي كار با ملود يهاي محلي است. او شخصيتي يكتا در بسياري از زمينه ها و از قوي ترين قل م هاي موسيقي قرن بيستم است. همچنين، او يكي از پايه گذاران «قوم موسيق يشناسي 2» است. جستجوها در پي يافتن روشي نوين براي آهنگسازي با مواد موسيقي ايراني، در نهايت، به بارتوك ختم شد و روش آهنگسازي او اين گمان را ايجاد كرد كه تكني ك هاي آهنگسازي مورد استفاده ي وي ميتواند الگويي مناسب يا دست كم الها م بخشي خوب براي آهنگسازان ايران باشد. بارتوك برخورد متداول و سنتي با ملودي هاي محلي را زمينه ساز تقليدي صرف ميدانست كه راه حل و شيوه ي يكپارچه اي ارايه نمي داد. او در مسير تكامل خود در پي يافتن راهي تازه در برخورد با ملودي هاي محلي، به روشي بر پاي ه ي درك روحِ دروني موسيقي دهقاني و سپس خلق سبك موسيقايي جديدي بر شالوده و اساس آن معتقد گشت. اين مقاله تمامي جنب ه هاي تكنيك آهنگسازي بارتوك و نيز هم هي پژوهش هاي با محوريت آثار او، مانند پژوهش هايي كه در زمين ه ي رديف فيبوناچي و نسبت طلاييِ موجود در آثار او انجام شده است، را در بر نمي گيرد ام ا م ي تواند مرجعي مناسب براي پژوهش هاي بيشتر و مجموع هاي خوب از تكنيك هاي آهنگسازي و روش كار او، ب هخصوص با مواد موسيقايي محلي، باشد.

Abstract The reason why “Bela Bartok” is the topic of this article is his uniqueness in the field of Folk Tunes. Bela Bartok was a very distinctive character in many fields and had one of the strongest pens in the 20th-century music. In addition, He was one of the founders of “Ethnomusicology”. About Bartok’s composition, it can be said that he was seeking a new method to work with folk melodies and did not aim to do as was common. He recovered an individual melody, processed it in its traditional manner, and then applied it into his composition. He also believed that he had a mission to understand the inner spirit of music and to create a new musical style based on the essentially inexpressible spirit. Therefore, in an attempt to gain a new method for composition with the materials of Persian music, I pondered through Bartok’s works, believing that his compositional techniques could be a great example or perhaps a true inspiration for Iranian composers. The major target of this article is to demonstrate Bartok’s approach in deriving some of his compositional techniques from arranging, transcribing and analyzing the folk music. Furthermore, the article goes on to show the deep connection between the themes used in Bartok’s works and his creative musical language. To attain this objective, certain aspects of folk tune’s styles are examined and compared with folk music arrangements and original compositions of Bela Bartok. Firstly with a glimpse into Bartok’s early works in the field of Folk Music, the sources of harmonic structures that have been used in his arrangements are discussed. The role of intervals function in the folk modes, are taken into consideration. Moreover, efforts have been made to show how the outcome of these studies set Bartok free from the tyrannical rule of major and minor keys and led to a new way of using the diatonic scale and eventually a new conception of the chromatic scale, in which every tone came to be considered of having an equal value and a capacity to be used freely and independently. Then the prevalent interval leaps in the peasant melodies and their impressions into moving towards poly-modality and consequently “polymodal chromatism” were examined. Furthermore, I studied Bartok’s vocal and piano arrangements and illustrated the use of “minor-seventh chords”, “quadral” and “quintal” chords, “the circle of fifths” and the “intervallic cells”. Additionally, I worked on the asymmetries, and influences of various folk modes in his works. Then, discussing several examples of Bartok’s works, influences of folk music in gradual formation of his specific musical language were analyzed and studied. Needless to say, this collection does not and cannot embrace all the wondrous aspects of Bartok’s compositional techniques, such as the field of Fibonacci series or Golden Section. Still, my hope is that it would possibly be an appropriate source for further researches and a good collection of his techniques and methods for composition, especially in working with Folk Music.