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Title: 梅湘的管弦樂改編寫作技法之探討——以二首《為Mi 的詩集》之選曲為例
Other Titles: Analysis of Messiaen’s Transcribing Techniques for Orchestra –An Example of Selected Pieces from Poèmes pour Mi
Authors: 蕭慶瑜
Ching-Yu Hsiau
Issue Date: May-2013
Publisher: 國立臺灣師範大學音樂學院
College of Music, NTNU
Abstract: 本文係以選自法國現代作曲家梅湘 (Olivier Messiaen, 1908-1992) 的作品《為Mi 的詩集》(Poèmes pour Mi, 1937) 為例,探討其管弦樂改編寫作技法。在他的早期作品內,除已逐漸發展出個人所獨創之寫作語法外,同時亦數次將自身原創作品加以改編,成為不同編制的作品。以《為Mi 的詩集》為例,原曲編制為女高音與鋼琴,屬於以九首藝術歌曲所組成之聯篇歌曲集。一年後,梅湘親將此曲編制擴大,成為女高音與管弦樂團的組合。其中人聲部分未更動,然自視覺部分的記譜、直至聽覺部分的聲部、以及音色等面向,皆呈現迥異於前的成果。有鑑於此,筆者即選擇以《為Mi 的詩集》為研究主題,從中擇取二首樂曲進行探討,研究所得大致如下:在面對同音型(或樂句)重複之際,梅湘經常更換演奏樂器,以求音色更加豐富呈現。而在新增聲部方面,所增加之類型包羅萬象:由反向和絃、持續音、泛音、及對旋律等,皆含括於內。甚至亦有為新增音型再添音色映襯之舉。另於樂器語彙的轉化方面,如以弦樂器撥奏的運用為例,其所呈現的面貌亦相當多元且富於變化。
In his early works, Messiaen had developed a distinctive musical language, and he transcribed his original pieces several times for other instrumental groups. Taking his nine-song cycle Poèmes pour Mi as an example, the original instrumentation for soprano and piano was “transcribed” by Messiaen into a work for soprano and orchestra one year later. Although the vocal part remained unchanged, the accompaniment was significantly transformed in its new incarnation. This study intends to analyze these transcription techniques and their transformation for orchestra in Messiaen’s work, specifically in an examination of select pieces from the song cycle Poèmes pour Mi.
Other Identifiers: 43967EEE-241E-2842-6182-5F48923EAD11
Appears in Collections:音樂研究

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