II data.instantencore（二世data.instantencore）.pdfVIP

II Music for Strings, Percussion and Celesta (1936) by Béla Bartók (Nagyszentmiklós, Hungary [now Sînnicolau Mare, Romania], 1881 - New York, 1945) Our work is modelled after Nature”—Béla Bartók once remarked, referring to his own music and that of his friend and compatriot Zoltán Kodály. (Although they often presented a united front on the outside, their styles were actually quite different.) What did he mean, exactly? Nature has stood for so many different things to so many people; the relationship between art and nature has occupied many great minds for centuries. For Bartók, nature was important on several different levels. He loved being outdoors all his life, and enjoyed collecting and studying plants. But nature also became the basis of Bartók’s artistic philosophy. He sought to expand the classical harmonic system in a natural,” organic way, using natural” ratios and finding new connections among the degrees of the chromatic scale that nevertheless fit in with the natural” circle of fifths. Some scholars believe that Bartók applied the Golden Section* and the Fibonacci series** in his works, and while there is no evidence that Bartók actually composed this way, the fact that these natural” ratios do appear in his works suggests that he was instinctively drawn to such symmetrical structures. The work on which most scholars base their theories is the first movement of Music for Strings, Percussion and Celesta which is, without a doubt, one of Bartók’s most strictly organized compositions. It is a fugue in slow tempo, sometimes referred to as a funnel fugue” because of the gradual broadening of the orchestral texture. The violas, in the middle of the spectrum, introduce the theme followed by the violins on top and the cellos at the bottom. The tonal plan of the various entrances also expands gradually. Each of the first t