民間音樂素材在鋼琴作品上的應用-以巴爾托克《羅馬尼亞舞曲》及葛拉納多斯《西班牙舞曲》第三、六、七、八首為例

十九世紀末是民族主義(Nationalism)思潮發揮到極致的時代，在歐洲國家陸續出現了作曲家致力於發展民族音樂，他們除了繼承古典主義的音樂傳統，借鑑浪漫主義的創作模式，還特別重視民間音樂的吸收，使得他們的作品具有鮮明的民族風格，展現深刻的民族情感。其中貝拉・巴爾托克(Béla Bartók, 1881-1945)和恩里克‧葛拉納多斯(Enrique Granados, 1867-1916)便是在受到民族主義思潮的影響下，創作了許多加入民間音樂素材的作品，也開創了羅馬尼亞和西班牙音樂發展的黃金期。本論文將以貝拉・巴爾托克的《羅馬尼亞舞曲》(Romanian Folk Dances sz.56)與恩里克‧葛拉納多斯的《十二首西班牙舞曲》(12 danzas espanolas op.37)為例，藉由探討羅馬尼亞及西班牙音樂的演進，研究此兩首作品的音樂風格與創作手法，接著分析形式結構，探討其節奏、和聲、調性、旋律及表現方式等面向來了解樂曲內涵，再進一步對樂曲中踏板的運用、力度與速度來做詮釋上的探討，提出演奏上的建議。全文共分為五章：第一章，緒論；第二章，背景研究；第三章，樂曲分析；第四章，樂曲詮釋以及第五章結論。

關鍵字

none

並列摘要

The nineteenth century was an era when Nationalism reached its extreme. At that time, a group of composers in Europe was dedicated to the development of national music. They not only inherited the tradition of Classicism but also put great emphasis on the absorption of folk music, which made their compositions have a distinctive national style, expressing deep emotions toward their nationalities. Under the surge of Nationalism, Béla Bartók (1881-1945) and Enrique Granados (1867-1916) created a lot of works with materials containing folk music, initiating the golden era of music development in Romania and Spain. The paper is based on Béla Bartók's (1881-1945) "Romanian Folk Dances sz.56" and Enrique Granados’s (1867-1916) "12 danzas espanolas op. 37", through probing the progress of Romanian as well as Spanish music, analyzing the style of music and the methods of composing in these two pieces. Subsequently, this paper also includes the analysis of the structures, through their rhythms, harmonies, tonalities, melodies, and interpretations to understand the underlying meanings of the works. Furthermore, by means of the application, strength, and speed of the pedals, there are some suggestions for performance. The paper is divided into five chapters, which are the introduction, background investigation, music analysis, music interpretation, and conclusion.