芬妮·孟德爾頌《六首歌曲》作品第一號與賽西莉·夏米娜德的六首藝術歌曲之分析與詮釋

Abstract

十九世紀德法女性與亞洲女性普遍有著相似的命運，他們的生活深受傳統觀念的社會所影響。在觀察西方音樂歷史的發展過程中，不難發現：古典音樂界大多以男性音樂家的活動爲主，女性在音樂界的角色與地位僅次於男性，當代女性接觸音樂僅僅是爲了培養藝術内涵，有了婚姻的女性，被認爲應以家庭爲重，社會不認可女性把音樂當作事業看待。在十九世紀男女不平等的社會背景下，對於想在音樂領域占有一席之地的女性作曲家，可説是相當不易。筆者主要選擇了兩位分別在十九世紀初的德國女性作曲家代表芬妮·孟德爾頌 (Fanny Mendelssohn,1805-1847) 的《六首歌曲》作品第一號以及十九世紀末的法國女性作曲家代表賽西莉·夏米娜德 (Cécile Chaminade, 1857-1944) 的六首法文藝術歌曲，藉由研究德國、法國的社會背景及女性在不同階層的社會地位與女性思想，探討此兩位女性作曲家的作品分析與詮釋，作爲本論文的研究重點。本論文共分爲七章。第一章説明研究動機與目的、研究範圍與方法。第二章論及十九世紀時期德國與法國女性。第三章探討德國作曲家芬妮·孟德爾頌的生平、創作風格與芬妮所選用的德國詩人作介紹。第四章則是介紹法國作曲家塞西莉·夏米娜德的生平、創作風格與簡單介紹夏米娜德所選用的法國詩人。第五章筆者選擇了芬妮·孟德爾頌的《六首歌曲》作品第一號作分析與詮釋探討；第六章則選塞西莉·夏米娜德衆多作品中的其中六首藝術歌曲，進行分析及詮釋。最後於第七章為本論文作結論。

關鍵字：十九世紀女性作曲家、芬妮·孟德爾頌、賽西莉·夏米娜德、德文藝術歌 曲、法文藝術歌曲

The nineteenth-century German and French female and Asian female are generally posses a similar fate. Their lives are deeply influenced by traditional society. By observing the development of Western music history, there's not difficult to discover most of the classical music is dominated by male musicians, while female musicians who can publish their music works were only accounted for a small proportion. Women's exposure to music was only for the purpose of cultivating artistic connotation. Women who have married are considered to value their family. In the nineteenth century, living in society shrouded by deference between men and women, it became harder for women to be concerned in the music field. This thesis mainly choosing the Nineteenth-Century German and French Female Composers' works, take Fanny Mendelssohn's Sechs Lieder, Op.1 and Cécile Chaminade's Six Mélodies as example, focusing on analyse and interpret these two female composers's works through their different social background as in German and French, and how the society status of women influenced their thought, as the research orientation of this thesis.

This thesis devides into seven chapters. The first chapter illustrates about the motive and aim of research, and the research scope and methods. The secondchapter mentions about the Nineteenth century social background of German and French and contemporary female. The third chapter studies about German composer Fanny Mendelssohn's music life, her style of works and preferred poets. The fourth chapter introduces French composer Cécile Chaminade's music life, her characteristics of works and her preferred poets. The fifth chapter mainly choose Fanny Mendelssohn's Sechs Lieder, Op.1 to analyse and interpret while the sixth chapter analyses and interprets Cécile Chaminade's Six Mélodies. Finally, the seventh chapter will make a conclusion for this thesis.

Keywords: Nineteenth-century female composers, Fanny Mendelssohn, Cécile Chaminade, German Lieder, French Mélodies