頁籤選單縮合
題名 | 從《幻想交響曲》的「固定樂思」看白遼士的作曲手法=Unfix the Idée Fixe: Analyses of the Composing Technique of Berlioz |
---|---|
作者 | 沈雕龍; Shen, Diau-long; |
期刊 | 音樂研究 |
出版日期 | 20061200 |
卷期 | 12 民95.12 |
頁次 | 頁1-26 |
分類號 | 912.31 |
語文 | chi |
關鍵詞 | 舒曼; 白遼士; 配器法; 固定樂思; 音樂評論; 幻想交響曲; Schumann; Berlioz; Instrumentation; Idée fixe; Musical criticism; Symphonie fantastique; |
中文摘要 | 白遼士無疑是十九世紀幾個最重要的作曲家之一,他的創意提供了其他作家繼續形塑整個浪漫時期音樂特色的靈感。音樂與文字的結合開啟了標題音樂的風潮;「固定樂思」(Idée fixe)無啻是華格納「主導動機」(Leimotif)的前身;《當代樂器與配器大全》(Grand Traité d'Instrumentation et d'Orchestration Modernes,)加上充滿了作曲家自己音色實驗精神的眾交響曲,留給後人繼續發展的動力。 在第一首交響曲《幻想交響曲》中,白遼士就開始大膽地將他的想法付諸施行,並掀起菲悌斯以及舒曼在各自評論中兩極的回應。歷來的分析家,無不在其文中片段或全文地引述兩人的正反評論,或替白遼士辯護、或延伸舒曼的理念繼續分析。 本文的音樂分析著重在傳統與創新在《幻想交響曲》中造成的衝突,觀察白遼士的作曲手法。不同的角度進行的分析都建立在共同的「固定樂思」主題之上,以便讓讀者對達到一貫的理解。《幻想交響曲》的「固定樂思」,也就是本文固定的樂思。 |
英文摘要 | Berloiz was one of the most important composers in the nineteenth century, whose very personal composing style and gestures inspired successors to continue molding a more significant attribute of Romantic era: symphony with descriptive program leading to the upcoming “Programme Music” and “Symphony Poem”; “Idée fixe”, a melody representive of a character or feeling, heralding the Wagnerian “Leitmotif”; his treatise on instrumentation, as well as his symphonies, cooperating with each other and motivating a constant exploration of tone color. Making his Symphonie Fantastique deut, Berlioz committed his bold, novel ideas to it, triggering contrasting critiques by Fétis and Schumann. This event resulted in a lasting citation of both reviews in most of the analyses thereafter, extending the defence of Berlioz produced by Schumann. This paper is looking at the conflicts between conventional and innovational elements in Symphonie Fantastique, examining Berlioz' characteristic skills in composing. Facilitating readers to comprehend the various effects made by Berlioz in a coherent way, I take different analyses all basing on “Idée fixe” of Symphonie Fantastique. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。