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題 名 | 拉威爾《加斯巴之夜》--〈水妖〉中水與詩的意象表達之轉化手法分析=Analysis of the Approach Combining the Image of Water and Poem Translations Present in Ravel's Ondine of Gaspard de la Nuit |
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作 者 | 蘇稚蘋; | 書刊名 | 遠東學報 |
卷 期 | 28:1 2011.03[民100.03] |
頁 次 | 頁77-87 |
分類號 | 911 |
關鍵詞 | 拉威爾; 加斯巴之夜; 水妖; 貝特朗; 象徵主義; 印象主義; Ravel; Gaspard; Ondine; Aloysius Bertrand; Symbolism; Impressionism; |
語 文 | 中文(Chinese) |
中文摘要 | 許多藝術創作常取材自大自然,以畫、詩詞、音樂將大自然轉化成具象的型態。但詩與畫作僅能表達大自然靜態的瞬間,而音樂卻是這些藝術中最直接生動且最具延續性及發展性的手法。尤其自浪漫後期到印象樂派開始之音樂家更明顯的用大自然現象,尤其是“水”這題材進行創作,因水的流動與各種動靜變化與音樂的流動性有密切的共通性〆靜止、涓涓流動甚至波濤洶湧。代表的作品如李斯特(Franz Liszt, 1811-1886)的作品〈艾斯特山莊的噴泉〉(Les jeux d’eaux à la Willa d’Este) 、德布西(Claude Debussy, 1862-1918)〈水的倒影〉(Reflets dans l’Eau)及本文所提拉威爾(Maurice Ravel, 1875-1937)之〈水妖〉(Ondine)。 此外,文學作品也是音樂創作中常借用的素材,將具體的詩詞、文學作品轉化為抽象的音樂創作,使作品更具想像力。而如何將具象的文字利用音符表達出來,也因不同的音樂家而有不同的利用方式。如本文中拉威爾的〈水妖〉及其另一部作品〈A小調鋼琴三重奏〉的第二樂章創作靈感皆來自詩人的作品,但前者是利用旋律、和聲等方式表達出詩的意境々而後者則是將詩的形式利用於曲式結構上,對詩的意境並無具體的描寫。 如何將具體的形象、文字轉化成抽象的音樂考驗著作曲家的想像與創作能力。〈水妖〉這部作品融合了水意象及詩意境的描寫,除此之外也是首考驗技巧的作品。本文將從作品的創作背景及曲式分析著手,從中整理出拉威爾利用旋律、音型、力度等創作因素描寫水樣態之手法,並從旋律、和聲進行方式及段落與詩的意境作比對,以瞭解拉威爾將具象藝術轉化為音樂的手法與目的,以助演奏者對此作品的詮釋。 |
英文摘要 | Many art works are inspired by our nature, and are expressed diversely as a form of paints, poems, or music. Different from poems or paints that are merely presented statically, music, among these works, is more effective in a straightforward, dynamic manner. In general, works produced during late Romantic music and Impressionist music are the representatives of using such a approach. In particular, “water” is often manipulated with the musicians, mainly because the water flow is closely related to the progress of a composition (e.g., rest, lento, and allegro). Among them, the representatives are those of Franz Lizst’s Les jeux d’eaux à la Willa d’Este, Claude Debussy’s Reflets dans l’Eau, and Maurice Ravel’s Ondine. The latter will be described in this article. In addition, literature is frequently borrowed in music compositions. The approach involved is to translate a poem or a word to an abstract music, offering more imagination than the letter itself does. How to express the literature works as a sequence of notes differs among different musicians. As will be described in this article, Ravel’s Ondine and his another work - Piano trios in A-minor, 2nd movement – are inspired by the poems. The former adopts the melody and harmony to express the poem, whereas the approach of the latter is used in the music structure. How to translate the concrete images and words into abstract music challenges the imagination of a music composer. As an example, Ravel’s Ondine combines the concrete image (i.e., water) with the poem, and also requires many difficult techniques. Starting from the background of music compositions and structure analysis, this article introduces the schemes that Ravel often adopted, including the melody, type, and dynamics, to describe the water. In order to realize how Ravel translated the concrete arts into music, the article also compares the progress of the melody and harmony with the corresponding paragraphs of a poem. This article offers an alternative viewpoint to help musicians interpret the works of Ravel. |
本系統中英文摘要資訊取自各篇刊載內容。