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題 名 | Amy Beach的綱琴個性小品分析研究=An Analytical Research on Piano Character Pieces by Amy Beach |
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作 者 | 楊景蘭; | 書刊名 | 臺東師院學報 |
卷 期 | 13(下) 民91.12 |
頁 次 | 頁137-154 |
分類號 | 917.12 |
關鍵詞 | 綱琴; 個性小品; Amy Beach; Piano; Character pieces; |
語 文 | 中文(Chinese) |
中文摘要 | Amy Beach 是美國第一位成功創作大型音樂作品的女性作曲家,生於1867年,她的作品傳承了十九世紀浪漫樂派的風格,再加上個人獨特的音樂語法,使她成為一位受到高度肯定的美國作曲家。本文先介紹作曲家的時代背景,了解在十九世紀末的美國東岸大都市波士頓,是許多美國作曲家活躍的地方,在一群被稱為波士頓古典主義者(Boston Classicists)的作曲家中,Amy Beach是唯一沒有赴歐洲學習的作曲家。由於Amy Beach本身是位優秀的鋼琴家,因此她創作了許多鋼琴獨奏曲作為她自己演奏會的曲目。 本文以分析 Amy Beach 各創作時期的鋼琴個性小品為主體,將Amy Beach的所有鋼琴獨奏曲依創作風格分成早、中、晚三期,歸納出各時期作品的作曲特徵,再從鋼琴個性小品由三時期的鋼琴獨奏曲中整理出來,然後由三個時期各選出一首具代表性的作品,研究分析曲式架構、和聲語法、主題發展、標題意境的表達、和鋼琴技巧等。結果發現 Amy Beach 喜歡用對稱性、對比性、反覆、以及變奏的方式建構作品,因此在她的個性小品中,最常見的曲式就是ABA三段式。另外,常用於變化多的敘事詩或戲劇詩的曲式Through-composed(聯篇創作)也出現多次。Amy Beach的和聲語法一直是以十九世紀的和聲為基礎,而她具個人特色的用法是常使用拿坡里和弦、增六和弦、頑固低音、各音級上的七和弦、和連續不解決的減七和弦。到了中晚期,受印象樂派影響所做的實驗性和聲進行愈多,半音階的使用減少。主題旋律的發展上,她喜用各類的變奏方式再現主題,例如加裝飾音、改變主題音型、改變和聲、或利用主題的動機貫串全曲等。標題意境的表達和鋼琴技巧的運用在Amy Beach的個性小品中,有著密不可分的關係;平行八度,常用來表現曲中需要較大戲劇性張力的技巧;震音(Trill)和顫音(Tremolo)則常用於描繪鳥鳴、振翅、或是光影閃爍的情景;常用來伴奏的連續快速遠距離和弦的跳進,生動地表現動物活蹦亂跳的景象。此外,鋼琴技巧中屬於較高難度的單手平行三度與平行六度,也是她常用的技巧。 |
英文摘要 | Born in 1867, Amy Beach is the first American woman composer who successfully composed large scale works. Her works combined the nineteenth century romantic style and her own unique music language. This article first presents the cultural environment and background of the composer. It is followed by a discussion of related literature. The biographical information of Amy Beach is stated in chapter two. The main focus of this article is on the analysis of Amy Beach’s piano character pieces. An overview of her solo piano works reveals some tendencies, which separate the output into three compositional periods. The writer carefully selected three works from three periods. After analyzing the structure、harmonic language、thematic development、programmatic expression、and piano technique of each selected work, certain characters which represent the compositional tendency of each period were found. Structurally, Amy Beach favored balancing、contrasting、repetition、and variation. Therefore,ternary (ABA) form was used most frequently in her character pieces. The harmonic language in her earlier compositions is closer to the nineteenth century harmonies. But the way she used Neapolitan sixth、augmented sixth、ostinato bass、and consecutive unresolved diminished-seventh chords is unique. In her middle and late periods, Impressionistic harmonies were found. In the thematic development, she likes to restate the main theme in variation forms.The programmatic expression and the piano technique are closely related to each other in Amy Beach’s character pieces. Parallel octaves、thirds and sixths、trill and tremolo、leaps of chords were found frequently in Amy Beach’s character pieces. |
本系統中英文摘要資訊取自各篇刊載內容。