مطالعه ی برخی از رویکرد های بلابارتوک در آهنگسازی، بر اساس ملود یهای محلی مجار

Abstractthe reason why “bela bartok” is the topic of this article is his uniqueness in the field of folk tunes. belabartok was a very distinctive character in many fields and had one of the strongest pens in the 20th-centurymusic. in addition, he was one of the founders of “ethnomusicology”. about bartok’s composition, it can besaid that he was seeking a new method to work with folk melodies and did not aim to do as was common. herecovered 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 stylebased on the essentially inexpressible spirit. therefore, in an attempt to gain a new method for compositionwith the materials of persian music, i pondered through bartok’s works, believing that his compositionaltechniques could be a great example or perhaps a true inspiration for iranian composers. the major targetof this article is to demonstrate bartok’s approach in deriving some of his compositional techniques fromarranging, transcribing and analyzing the folk music. furthermore, the article goes on to show the deepconnection between the themes used in bartok’s works and his creative musical language. to attain thisobjective, certain aspects of folk tune’s styles are examined and compared with folk music arrangements andoriginal compositions of bela bartok. firstly with a glimpse into bartok’s early works in the field of folkmusic, the sources of harmonic structures that have been used in his arrangements are discussed. the role ofintervals function in the folk modes, are taken into consideration. moreover, efforts have been made to showhow the outcome of these studies set bartok free from the tyrannical rule of major and minor keys and led toa new way of using the diatonic scale and eventually a new conception of the chromatic scale, in which everytone came to be considered of having an equal value and a capacity to be used freely and independently. thenthe prevalent interval leaps in the peasant melodies and their impressions into moving towards poly-modalityand consequently “polymodal chromatism” were examined. furthermore, i studied bartok’s vocal and pianoarrangements and illustrated the use of “minor-seventh chords”, “quadral” and “quintal” chords, “the circle offifths” and the “intervallic cells”. additionally, i worked on the asymmetries, and influences of various folkmodes in his works. then, discussing several examples of bartok’s works, influences of folk music in gradualformation of his specific musical language were analyzed and studied. needless to say, this collection doesnot and cannot embrace all the wondrous aspects of bartok’s compositional techniques, such as the field offibonacci series or golden section. still, my hope is that it would possibly be an appropriate source for furtherresearches and a good collection of his techniques and methods for composition, especially in working withfolk music.