記譜法の変化と「南東ヨーロッパ共通の特徴」の創造 : バルトークの民謡研究におけるフォノグラフの役割について

抄録

In the first half of the 20^<th> century many musicologists tried to notate folk songs precisely by the help of recording media. In the case of Bela Bartok we can see that his notation of folk songs became more and more detailed as his career progressed. It is certain that the phonograph played an important role in this change in notation, even though several other factors such as the spread of "audile technique" for concentrative listening also could have been important as well. While Bartok believed that the track of record was the most authentic record of songs, he continued to use the traditional way of notation with additional signs. Consequently, aided by a phonograph with a headset, he could "discover" such unknown stylistic features as "Bulgarian rhythm" that might enlarge the vocabulary of traditional European art music. Considering his notion of "Bulgarian rhythm" as "common character of south eastern European folk music" on one hand, and the frequent appearance of "Bulgarian rhythm" with Hungarian stylistic features in his works on the other, perhaps we may say that phonograph contributed not only to his scholarly activity but also-if indirectly-to his modernist creative activity.