Although of considerably distinct ethnicity, China and the Balkan states may be thematically united in terms of their struggles to preserve their unique field of study identities. Whether against Mongol invasion or Austro-Hungarian autocracy, the need to be a self-determining race in its own right is a jet thread. In both cases, the folk custom in its various(a) manifestations has survived against adversity, and furthermore has beguiled invaders with its beauty. These two genres of folk music be embodiments of a resilience of spirit.
        This investigation will concentrate on the study of some examples of Chinese classical music in comparison with Béla Bartóks Concerto For Orchestra. Bartók is known for preserving the Hungarian folk tradition with utmost faithfulness, having collated many recordings of Hungarian folk music and incorporate them into his compositions.
        An alliance with nature and cultural origins appears to be an underlying fancy that reconciles the characteristics of both folk musics. Perhaps the most fundamental tuneful construct in folk is the pentatonic scale:         oriental:         gong-shang-jiao-zhi-yu         Western:         do-re-mi-so-la This model appears at the beginning of a hauntingly fine-looking song called Gaoshan Luishui (Tall Mountains And Flowing Water): [play extract #1: Gaoshan Luishui]                 Gaoshan Luishui The first hardly a(prenominal) bars of Bartóks Concerto For Orchestra, Movt. I, are excessively constructed upon a pentatonic scale: [play ex. #2: Concerto For Orchestra, Mvt I, bb.
1-6]         I - Introduzione scales in ascending give: Gaoshan Luishui         Concerto For Orchestra la-pentatony         mi-pentatony The relative minor/la-pentatony is very enunciate in Gaoshan Luishui creating its mournful tone. Furthermore, the rhythmic descriptor appears frequently. The inversion of this figure ( ) is known as a maruntel, a sort of Romanian dance. This motif appears repeatedly throughout the Concerto For Orchestra, but is particularly prevailing in the fifth movement (Finale):         V - Finale                         In ancient times, the Chinese considered music as having some primordial power . In...
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