貝拉‧巴爾托克為二十世紀匈牙利傑出的作曲家之一，他在音樂上的成就，除了採集整理民間音樂之外，還發展出另一項獨特的作曲風格，稱為「夜間音樂」。「夜間音樂」由一九二六年巴爾托克發表鋼琴組曲《戶外》中的第四首〈夜樂〉後，確立了名稱和特徵，並於日後的創作裡，大量將夜間音樂的風格運用在作品中。
夜間音樂的內涵主要反應出巴爾托克對大自然的熱愛，和對匈牙利民族的關切，巴爾托克以豐富的色彩，將夜裡寧靜又帶點幽暗的氛圍描繪得極為真實；並藉著寫實的創作手法，模擬匈牙利夜晚各種夜行性生物的鳴叫聲，表達出大自然的生命力量，也打破了一般人對夜晚死寂的刻板印象。
本文的研究內容，除了前言與結語之外，共分為三個部分。第一部分為巴爾托克的音樂創作生涯，透過音樂環境和生平背景，以了解巴爾托克在創作風格上的演變。第二部分則釐清十九世紀的夜曲，與巴爾托克夜間音樂在特色上的差異，接著再針對夜間音樂的概念由來和風格特徵兩方面來探討。第三部份為夜間音樂特色分析，主要以〈夜樂〉為探討中心，再以《雙鋼琴與打擊樂奏鳴曲》第二樂章，和《第三號協奏曲》第二樂章為輔，從音響色彩、創作素材和樂曲構思等方面，探討夜間音樂獨特的寫作方式。

Béla Bartók was one of the outstanding Hungarian musicians in 20th century, who created and developed his own unique music of style called “Night Music.” After premiered “The Night’s Music” (the fourth piece of the piano suite Out of Doors) in1926, Bartók decided the name and characteristics of Night Music, and then placed plentifully such style in his later compositions.
Night Music mainly reflects Bartók’s love for nature and concerns about Hungary. With abundant colors of sounds, Bartók depicted vividly the tranquil and dim atmosphere of night. His compositional techniques, mimicked sounds of various nocturnal animals in Hungarian nights, expressing power of nature and breaking the stereotype of quietness about night.
The contents of this thesis are divided into three parts besides introduction and conclusion. The first part is Bartók’s career of music, and his compositional style. In the second part, the differences between Nocturne in the 19th century and Bartók’s Night Music will be examined. Then, the Night Music will be discussed in two dimensions: its origin and its features. The third part uses mainly “The Night’s Music”, with supplement of the second movement of Sonata for Two Pianos and Percussion, and the second movement of Concerto No. 3 for Piano and Orchestra, in order to analyse the features and the unique compositional skills of Night Music.

目錄

前言………………………………………………………1

巴爾托克音樂創作生涯………………………………...3
孩童和學生時期………………………………………...4
民間音樂時期與第一次世界大戰後…………………...6
創作黃金期……………………………………………...9
美國終老………………………………………………..11

夜間音樂的概念由來和風格特徵……………………13

夜間音樂特色分析……………………………………23
音響色彩…………………………………………… 25
創作素材………………………………………………30
樂曲構思………………………………………………35

結語…………………………………………………… 44

參考書目……………………………………………… 46

外文書目
Antokoletz, Elliott. Béla Bartók: A Guide to Research. New York: Garland Pub., 1997.
----------------------. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. California: University of California Press, 1984.
Bayley, Amanda. The Cambridge Companion to Bartók. New York: Cambridge University Press, 2001.
Burge, David. Twentieth-Century Piano Music. New York: Maxwell Macmillan International, 1990.
Cooper, David. Bartók, Concerto for Orchestra. New York: Cambridge University Press, 1996.
Crow, Todd. Bartók Studies. Detroit: Information Coordinators, 1976.
Dahlhaus, Carl. Nineteenth -Century Music. Berkeley: University of California Press, 1989.
Gillies, Malcolm. Bartók Remembered. London: Norton, 1990.
Gillies, Malcolm. The Bartók Companion. Portland, OR: Amadeus Press, 1994.
Gordon, Stewart. A History of Keyboard Literature. London: Prentice Hall International, c1996.
Harley, Maria Anna. “"Natura naturans, natura naturata" and Bartók''s Nature Music Idiom.” Studia Musicologica Academiae Scientiarum Hungaricae, T. 36 Fasc. 4/3 (July, 1995): 329-349.
Horn, Herbert Alvin. Idiomatic Writing of the Piano Music of Béla Bartók. Los Angeles, Calif.: University of Southern California, 1963.
Kárpáti, János. Bartók’s Chamber Music. Stuyvesant, N.Y.: Pendragon Press,c1994.
Kirby, F. E. Music for the Piano. Portland,OR: Amadeus Press, 1995.
Laki, Peter. Bartók and His World. New Jersey: Priceton University Press, 1995.
Leeuw, Ton de. Music of the Twentieth Century: A Study of its Elements and Structure. Amsterdam: Amsterdam University Press, c2005.
Moevs, Robert. “ George Crumb: Music for a Summer Evening (Makrokosmos III). For Two Amplified Pianos and Percussion.” The Musical Quarterly, Vol. 62, No. 2 (Apr., 1976): 293-302.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: Norton, c1991.
Schneider, David E. Bartók, Hungary, and the Renewal of Tradition : Case Studies in the Intersection of Modernity and Nationality. Berkeley: Univesity of California Press, c2006.
Simons, Haley Ann, “Béla Bartók’s Sonata for Two Pianos and Percussion.” D.M., University of Alberta (Canada), 2000.
Stevens, Halsey. The Life and Music of Béla Bartók. New York: Oxford University Press, 1993.
Somfai, László. Béla Bartók: Composition, Concepts, and Autograph Sources. Berkeley: University of California Press, 1996.
Somfai, László. “Analytical Notes on Bartók’s Piano Year of 1926.” Studia Musicologica Academiae Scientiarum Hungaricae, T. 26, Fasc. 1/4(July, 1984): 5-58.
Suchoff, Benjamin. Béla Bartók Essays. Lincoln: University of Nebraska Press, 1992, c1976.
----------------------. Bartók, Concerto for Orchestra: Understanding Bartók''s World. New York: Schirmer Books, c1995.
Temperley, Nicholas. “John Field and the First Nocturne.” Music and Letter, Vol. 56, No.3/4 (Oct., 1975): 335-340.
The New Grove Dictionary of Music and Musicians, s.v.“Bartók, Béla”by Malcolm Gillies.
The New Grove Dictionary of Music and Musicians, s.v.“Hungary”by Bálint Sárosi.
The New Grove Dictionary of Music and Musicians, s.v.“Nocturne”by Maurice J.E. Brown/ Kenneth L. Hamilton.
Wilson, Paul. The Music of Béla Bartók. London: Yale University Press, 1992.
Weissmann, John. “ Bartók''s Piano Music.” Tempo, New Series, No. 14(Winter1949-1950): 8-19.
Yeomans, David. Bartók for Piano. Bloomington: Indiana University Press, 2000.

中文書目
哈密許˙麥恩(Hamish Milne)著，林靜枝譯。 《巴爾托克》。 台北：智庫文化出版，1996。
史蒂芬˙華許(Stephen Walsh)著，鄭朔譯。 《巴爾托克室內樂》。台北：世界文物出版，1996。
吳雅婷。 《淺談巴爾托克對二十世紀鋼琴音樂的貢獻》。 台南女子技術學院學報17。
趙映蘋。 《巴爾托克鋼琴曲在戶外之研究》。 碩士論文，台北市立師範大學，2003。
錫特龍著，李哲洋譯。 《巴托克》。 台北：全音樂譜出版社，1971。