Béla Bartók: Folk Music
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- Опубликовано: 20 дек 2010
- Malcolm Gillies and Esa-Pekka Salonen investigate Bartók's role as an ethnomusicologist; how he collected and notated folk music and how this inspired the music he wrote for the concert hall.
Malcolm Gillies meets Hungarian Folk ensemble Muzsikás, and Esa-Pekka Salonen travels to the Columbia University archives in New York where Bartók collated many of his field recordings and transcriptions in the 1940's.
This film accompanied the Philharmonia Orchestra's 'Infernal Dance' series exploring the life, influences and music of Béla Bartók.
You can watch the rest of our videos featuring string instruments here: • String Instruments (Ph... 
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National culture is all about belonging to something larger than yourself and yet distinctly your own.
Music:
0:04
1:08
1:42
3:25
Music Final:
8:41
i love the way hes talking about the miraculous mandarin while standing in front of a strip club XD
Rozzanttyuk L Hello, you like Bartok? So do i, nice to meet you.
Which is the tune sounding in 1:42? It's been adapted by Bartók in one of his pieces, but I can't remember the name. Any clue?
Ah, Kossuth. So vastly underplayed. Is it a recording playing in the background?
Is that first interviewed guy the brother of Slavoj Zizek?
I felt the same. But slavoj is from slavonia and muzikas are from hungary.
Its awesome because it's not only the looks but also the way he speaks that reminds me so much to Zizek. It's his twin brother lol
Is that the caligraphy of Bartók?
Yes! (We assume you're talking about the manuscripts from Columbia University?)
Curious that he wrote in English, especially as he most likely never expected to live in America. Unless of course these notes were his translations made after the fact. Lovely hand he had.
Banano
Bonana
What about adding "jazz chords" to folk songs to make them seem relevant, like they're disnyfied, it loses its personality.
True… I can see that. I play Irish music, on fiddle & whistle, as well as Scottish, Cape Breton, country, bluegrass, jazz, Norwegian and other styles. A lot of classical musicians and composers feel they’re above traditional musicians, or entitled to judge, as if they “know” all there is to know about music, despite likely not being involved in the tradition! Of course, many composers tried to incorporate “folk music” into their works, besides Bartók, to varying degrees of efficacy… but I do agree with the “Disneyfied” aspect. Adding to or arranging traditional music in a different way isn’t always revolutionary. Well, it is, but it’s not always…needed? Or even pleasant for that matter? Even when done by traditional artists! Look at Riverdance, Lord of the Dance, etc. While those shows are great, and have some excellent compositions, they are simply ROOTED in Irish traditional music, but not a part of the traditional repertoire. If a player knows those tunes, it’s likely nobody else they play with does. Lol. Cause they’re not “traditional”, they’re inspired by folk music… then there’s the argument of Irish traditional music versus “Celtic” or “Gaelic” music. Well.., the Celtic race are a people, Gaelic is a language… so…yeah. The Disneyfication of Irish music turns it into “Celtic entertainment”. Haha
As a fiddler, I just feel these things so much…even at the start of this video, he says “folk music is simple,” and that’s a bit of a blanket statement right there! I’ve had violinists tell me my Irish tunes were basic, and then they played them, they needed sheet music-naturally, they didn’t know the tune and couldn’t pick it up quickly enough by ear, as they’re not versed in it… but the way they ended up playing it? It sure SOUNDED simple, because none of the or ornaments or dynamics were written into the sheet music. Bare bones. Because we don’t really use it. And if we do learn from notation, we know not to play it the same way twice! That’s second nature. That’s the part that makes it not simple, the fact that it’s a language and you have to be immersed in it to speak fluently. Same with classical, I wouldn’t claim anything about it because I’m hardly qualified. Why classical musicians feel deserved of commenting on everything “beneath them” is insane. I was even told I needed classical training before Irish music, because I “have a lot to learn still”. When that was elaborated on further, my friend clarified, she meant I needed to specifically study CLASSICAL, regardless of whether or not I like it, before anything else, which is bs.