鳥歌在梅湘鋼琴作品之體現

Abstract

奧利維耶·梅湘 (Olivier Messiaen, 1908-1992) 自五歲，就開始對於鳥類聲音的採集工作，同時著手進行整理與分析，應用於自己的創作之中。1944 年鋼琴作品《二十個對聖嬰耶穌的注視》，已開始進行鳥歌的運用，但尚未將鳥歌於作品內做全面性的發展。1956 年到 1958 年間創作的《鳥類圖誌》，鳥鳴風格趨於成熟，成為其後期作品中重要的元素。本書面報告旨在探討鳥歌在梅湘鋼琴作品上的體現，分為八個章節。第一章介紹研究動機、目的和方法。第二章分為三節，首先提供了梅湘音樂語言的概述；第二節深入探討梅湘鋼琴音樂作品及其創作特色，並凸顯鳥歌在創作中的重要性；第三節則進一步聚焦於不同時期梅湘鋼琴作品中鳥歌的應用方式，揭示鳥歌如何以多樣化的方式呈現在梅湘的音樂中。第三至六章深入討論了筆者挑選的梅湘創作生涯中的具有代表性的六首鋼琴作品，這些作品皆有應用到鳥歌，分別為《前奏曲》《二十個對聖嬰耶穌的凝視》、《鳥類圖誌》、《鳥兒的小小素描》之中的選曲，從其曲式架構、調式和創作手法等觀點進行樂曲分析。第七章則從指法、節奏、語法、踏板、層次、力度和背譜這些層面探討這六首作品的演奏詮釋。最後一章為結論，總結了鳥歌在梅湘鋼琴作品中的體現及其演奏詮釋。Olivier Messiaen (1908–1992) began collecting and analyzing birdsong at the age of five, gradually incorporating it into his compositions. While his 1944 piano work"Vingt Regards sur l’Enfant-Jésus" marked an early use of birdsong, it was not until "Catalogue d’oiseaux" (1956–1958) that this element became a fully developed and defining feature of his musical language. This written report aims to explore the manifestation of birdsong in Olivier Messiaen's Selected Piano Works, which are divided into eight chapters. The first chapter introduces the research motivation, objectives, and methods. The second chapter, consisting of three sections, begins withan overview of Messiaen's musical language. The second section delves into the overall characteristics of piano works, with a particular focus on the evolution of Messiaen's piano style and the significance of bird songs in his creative process. The third section further focuses on the application of bird songs in Messiaen's piano works during different periods, revealing how these elements are presented in diverse ways in his music. Chapters three to six provide in-depth discussions of six selected representative piano works by Olivier Messiaen, all incorporating bird elements. These pieces include selections from"Prélude pour piano," "Vingt Regards sur l'Enfant-Jésus," "Catalogue d'oiseaux," and "Petits esquisses d'oiseaux," analyzing them from perspectives such as musical structure, tonality, and compositional techniques. The seventh chapter explores the performance interpretations of these six pieces, examining aspects such as fingering, rhythm, articulation, pedaling, texture, dynamics, and memorization. The conclusion summarizes the artistic and technical significance of birdsong in Messiaen's piano repertoire.