| Bala Bartok, who is considered one of the originators of modern music, always took quartet-an ancient style-as his region of musical creation. In the early part of 20th century, there were varied schools of music in Europe. And Bartok was influenced by those schools. The style of 《No3, NQ4 string quartet》 (1927,1928) just reflected his creation thought and aesthetic principle during this period, and his spirit of creativity was best expressed in these two works. It offers more help for our annotation of his later mature works through the analysis and study of them.Bartok's form is full of innovation: 《No3, No4 string quartet》 is Bartok's typical work of single movement thought; and 《No3, No4 string quartet》 is the representative work of five movement cycle's arch structure, moreover, the 4th movement best embodies his axes system and golden section. In addition, by carrying forward and developing Beethoven's cyclic form on the base of modern musical language, Bartok created leading motive technique.Bartok's harmony is full of innovation too, he employs series into his composition, his mode-chromaticism is established on base of folk music multi-mode, and his distinctive harmony sonority is the combination of modern harmony and folk music.Still more, Bartok is not conservative, while absorbing modern composition techniques, he ticks to his own creation thought and aesthetic principle as well. And tonality principle is the base that he overcome the influence of many schools of music.Bartok's creation could be divided into three periods: 1/the initiative attempt; 2/the innovative period; 3/his glorious period and his later period. The changes of his music style during the three period can be seen as a inversed U - PI. While 《No3 , No4 string quartet》 is just on the top of n. By analyzing his works of the three different periods and 《No3, No4 string quartet》 , we can best understand the latter works, and completely see through Bartok's creation thought and aesthetic principle. |
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