法蘭茲．丹濟《F大調低音管協奏曲》之分析與詮釋
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2017
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這首F大調協奏曲，是低音管演奏者幾乎都不會錯過的作品，但在國內研究此首樂曲的資料相當稀少，對於丹濟的文獻也格外缺乏，因此對於演奏者們想進一步了解其作曲家和作曲內涵是有些困難的。本論文分為五大章，第一章、敘述研究動機目的及說明研究方法。第二章、將以作曲家丹濟所屬的曼海姆樂派為佐證，先介紹作曲家生平事蹟和創作手法，再探討此時期低音管的發展。第三章、以循序漸進的方式從分析作品的部分了解樂曲的素材、調性及和聲。第四章、音樂詮釋上；筆者將以樂曲分析為基礎，再透過本身對作品的演奏，提供特殊的練習方法並歸納出合宜此作品創作時代的詮釋方式。希望本論文能對將來想了解丹濟作品的讀者達到輔佐的效果。
This concerto in F major is a remarkably popular music piece among bassoon performers. However, because domestic research on this masterpiece or on Franz Danzi has remained scant, performers who wish to learn more about the composer as well as the “undertone” of the music piece are faced with obstacles. The present study is divided into five sections as follows: Section 1 describes the research motivation and methods; Section 2 uses the Mannheim school (a school to which Danzi belonged) as proof to introduce the composer’s personal history, his music creation techniques, and the development of bassoons; Section 3 analyzes the concerto to identify the elements that make up the music as well as its tone and harmony; and Section 4 presents a music interpretation, in which the music note is studied and the piece is performed (by the author of this study) to generalize the ways to interpret this piece so that it matches the era during which it was made. In addition, special practice methods for this piece are proposed. The results of this study can serve as valuable references for individuals who wish to learn more about Danzi’s music pieces.
This concerto in F major is a remarkably popular music piece among bassoon performers. However, because domestic research on this masterpiece or on Franz Danzi has remained scant, performers who wish to learn more about the composer as well as the “undertone” of the music piece are faced with obstacles. The present study is divided into five sections as follows: Section 1 describes the research motivation and methods; Section 2 uses the Mannheim school (a school to which Danzi belonged) as proof to introduce the composer’s personal history, his music creation techniques, and the development of bassoons; Section 3 analyzes the concerto to identify the elements that make up the music as well as its tone and harmony; and Section 4 presents a music interpretation, in which the music note is studied and the piece is performed (by the author of this study) to generalize the ways to interpret this piece so that it matches the era during which it was made. In addition, special practice methods for this piece are proposed. The results of this study can serve as valuable references for individuals who wish to learn more about Danzi’s music pieces.
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丹濟, 曼海姆樂派, 低音管發展, Danzi, Mannheim school, development of bassoon