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題 名 | 穆欽斯基第三號鋼琴奏鳴曲之樂曲架構與音程發展=The Formal Structure and Intervallic Development of Robert Muczynski's Third Piano Sonata Op.35 |
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作 者 | 黃芳吟; | 書刊名 | 高雄師大學報 |
卷 期 | 15:2 2003.12[民92.12] |
頁 次 | 頁593-614 |
分類號 | 911.65 |
關鍵詞 | 穆欽斯基; 第三號鋼琴奏鳴曲; 四度音程; 循環主義; The 4芌interval; Muczynski; Piano sonata no.3; Cyclicism; |
語 文 | 中文(Chinese) |
中文摘要 | 穆欽欺基第三號鋼琴奏鳴曲兼具傳統曲式架構與作曲者對音程色彩的運用特質,為獲選第七屆馬里蘭大學國際鋼琴大賽現代樂派指定曲的重要因素。處於美國急欲突破與歐洲音樂文化傳承關係的世代,穆欽期基強調作口原創性需以感情結合智慧的創作理念,使其音樂展現強烈說服力。第三號鋼琴奏鳴曲累積了前二首奏鳴曲的創作經驗,為穆欽欺基展現鋼琴音樂多樣風格的最佳範例。 在曲式方面,此曲承襲傳統的奏鳴曲式一詼諧曲式以及自由的二段式體,但曲式中大量使用的變奏手法以及主題輪現,使意樂更為自由。而第三樂章結合抒情與節奏鮮明的二大段落,除了展現強烈的音樂對比,來自各樂章主題亦參與第二部皆的主題發展,使得全曲循環動機的意念更加明顯,亦使第三樂章兼具主題變化與統整的功能。其次,穆欽斯基在各樂段擅用的三段式、輪旋曲式與變奏曲式分明顯以第一主題為主,使特定主題的多次呈現成為其音樂發展的一大特色。 在橫向旋律的音程方面,第一主題四度加二度的音程型態與音程變化、持續低音、頑固音型為整首奏鳴曲最常見的音程使用手法。音程進行方向的三種變化與音程的四項結構類型,加上四度音程的垂直式的弦大量出現於中、下聲,穆欽斯基大量運用特定音程的再現偶及音程間的組合變化,成為其創作的重要精神。 由於創作風格不同於前衛主義的標新立異,穆欽斯基的鋼琴作品在八零年代之前並未獲得應有重視,本文藉由資料的收集與作品分析,針對樂曲架構與音程發展深入探討第三號鋼琴奏鳴曲。本文除可做為教學曲目的建議與演奏者音樂詮釋上的依據外,亦可提供國內相關學者未來研究的參考。 |
英文摘要 | Robert Muczynski's 3rd piano sonata combines the traditional formal structure and the usage of intervallic contents. The sonata was chosen as the required contemporary solo repertoire for the 7th Annual Piano Festival and Competition at the University of Maryland, USA. Muczynski believes that the originality in composing music must rely on the interaction of emotion and rationality to create the persuasiveness to audiences. The 3rd piano sonata becomes a a typical example of Muczynski's multiplex music style. The 3rd sonata follows the traditional format that includes the sonata-allegro, scherzo, and two-part free style. However, Muczynski applies a lot of variation and rondo format in the structure, which increases the music latitude. The combinational of the pastorale part and the animated part in the 3rd movement presents intense music contrast. The cyclic idea appears when the themes of the previous movements join the repetitive theme variations of the 3rd movement, which provides the aggregated function of the 3rd movement. Furthermore, Muczynski likes to combine the three parts, rondo, and variation forms. The repetition of a certain theme is a unique style of his music. Muczynaski's intervallic relationship of melody often applies the motive (4th-M2nd) deriving from the first theme, the pedal point, and the ostinato. The motive has been transformed into various types including the motive contours and difference among intervallic structure. The chords with 4th intervals have been massively applied to the inner and lower voices of this sonata. The intervallic transformation and the repetition of certain intervallic development of Muczynski's 3rd piano sonata. Through the systematic classification and discussion. Interested musicians could have an in-depth apprehension of the interpretation and music styles of Muczynski's piano music. |
本系統中英文摘要資訊取自各篇刊載內容。