希納斯特拉(Alberto Ginastera, 1916-1983)為南美洲二十世紀重要的作曲家之一，出生於阿根廷，早年在阿根廷國內學習，14歲開始作曲，19歲獲得布宜諾斯・艾利斯威廉斯大學音樂學院 ( Alberto Williams College Conservatory of Buenos Aires)作曲金獎畢業。
希納斯特拉本人將自己的創作風格分為三個時期，分別為「客觀民族主義」(Objective Nationalism, 1934-1947)、「主觀民族主義」(Subjective Nationalism, 1947-1957)、「新表現主義」(Neo-Expressionism, 1958-1983) ，《弦樂協奏曲》(Concerto For Strings, 1965)為「新表現主義」時期之作品。
早期的作品中富含阿根廷民間素材，洋溢濃厚的舞蹈節奏和生活氣息；中期則以較為象徵性的方式，處理阿根廷民間音樂的素材。另希納斯特拉亦積極吸收新音樂技法，再結合經過自身轉化民俗音樂的元素後，形成後期獨特的音樂風格，涵蓋阿根廷民間素材、十二音列技法(Twelve-tone Technique)、微分音( Microtonal Music)、複調性(Polytonality)等。
本文以阿根廷作曲家希納斯特拉的弦樂團作品《弦樂協奏曲》為主題，檢視並探究其音樂理念與慣用的作曲手法，如何將民俗音樂元素轉化爲節奏或音高動機，融合十二音列技法與微分音等新音樂技法使用。最終以筆者自我音樂創作之分析，論述其音樂語彙對自身創作的啟發，如何將富有律動感的舞曲節奏加入作品中，並使自身創作不被預先設定的風格、元素限制，拓展自身創作的可能性。

Alberto Ginastera, one of the most influential South American composers in the 20th century, was born in Argentina. In his early years, the Argentinian composer studied music in his mother nation. At the age of 14, Ginastera started to compose. Five years later, he graduated from Alberto Williams Conservatory of Buenos Aires with a gold medal in composition.
Ginastera had classified his music into three stages: “Objective Nationalism” (1934-1947), “Subjective Nationalism” (1947-1957), and “Neo-Expressionism” (1958-1983). The Concerto For Strings (1965) belongs to the “Neo-Expressionism” stage.
In Ginastera’s early works, we can identify many Argentinian folk music elements, which are rhythmic and rich in the sense of natvie life. The compositions at Ginastera’s middle stage, on the other hand, utilize more symbolic methods to process materials of Argentinian folk music. After absorbing modern music techniques, the South American composer combined them with the Argentinian folk music elements he had been familiar with. This contributed to the unique characteristic of the music works at Ginastera’s later stage, which make use of materials of Argentinian folk music, the Twelve-tone Technique, Microtonal Music, and polyphony.
This thesis is intended to light on Ginastera’s string orchestra The Concerto For Strings, and further explore the music philosophy as well as the composing techniques of Ginastera. How him turn folk music into tempo or scale motive and mix with modern music techniques, such as Twelve-tone Technique, Microtonal Music.
In the end, the author will analyze her own music composition to demonstrate the inspiration of Ginastera’s music language. How to incorporate rhythmic dance rhythms into self-works, and how to expand the possibilities of self-work creation without being limited by pre-determined styles and elements, which broadens her direction of music composition.

一、西文專書
Gorodon, Stewart. A History of Keyboard Literature, New York: Schirmer Books, 1996.
Schwartz-kates, Deborah. Alberto Ginastera A Research and Information Guide, New York: Routledge, 2010.
Urtubey, Pola Suárez. Alberto Ginastera, Buenos Aires: Ediciones Culturales Argentinas, 1967.
二、電子期刊
Chase, Gilbert. “Alberto Ginastera: Argentine Composer.” The Musical Quarterly. Oct. 1957, Vol. 43, No.4(1957): 439-460.
Schwartz-kates, Deborah. “Alberto Ginastera, Argetine Cultural Construction, and the Gauchesco Tradition.” The Musical Quarterly. Summer, 2002, Vol. 86, No. 2(2002):248-281.
Tabor, Michelle. “Alberto Ginastera’s Late Instrumental Style.” University of Texas Press. Spring-Summer, Vol. 15, No. 1(1994):1-31
Tan, Lillian and Ginastera, Alberto. “An Interview with Alberto Ginastera." American Music Teacher. January, Vol. 33, No. 3, (1984):6-8
Rossi, Nick. “Music of Argentina.” Music Educators Journal. January, Vol. 59, No. 5(1973):51-53
三、網路資料
國家教育研究院雙語詞彙、學術名詞暨辭書資訊網。 http://terms.naer.edu.tw/
臺灣碩博士論文知識加值系統 https://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/ccd=kCYj4B/webmge?mode=basic (Dec. 20, 2021.)
四、樂譜
Ginastera, Alberto. Concerto per corde. London: Boosey&Hawkes, 1996.