克勞德・德布西兩套鋼琴組曲比較性研究—《貝加摩》組曲、《為鋼琴的》組曲 The Comparative Research of Claude Debussy’s Two Piano Suite: Bergamasque and Pour le piano

dc.contributor 王杰珍 zh_TW
dc.contributor 陳漢金 zh_TW
dc.contributor Wang, Jie-Zhen en_US
dc.contributor Chen, Han-Jin en_US
dc.contributor.author 許芮于 zh_TW
dc.contributor.author Shiu, Ruei-Yu en_US
dc.date.accessioned 2019-09-06T00:52:20Z
dc.date.available 2016-12-16
dc.date.available 2019-09-06T00:52:20Z
dc.date.issued 2016
dc.description.abstract 十九世紀末、1871 年普法戰爭法國戰敗後,音樂界興起一股振興法國文化的 風潮。由於法國音樂在十九世紀中以來,國內中產階級增多,喜愛好聽易懂的音 樂與表演藝術,因此音樂發展並沒有太突出的表現,除了討好聆賞者的音樂以外, 主要是日耳曼地區輸入音樂。音樂界藉著普法戰爭的戰敗,試圖在音樂上突破重 圍。 德布西(Claude Debussy, 1865-1918)跳脫傳統的創作手法,有別於當時法國由學院派「溫和的浪漫」風格、「法蘭克幫」(bande de Franck)的國際風格,以及德國的後浪漫派音樂,震撼了當時的音樂界,尋找出音樂中新的聲音模式。然而,這樣的創新,被拿來與當時的「印象主義」(impressionism)畫派類比,貼上在當時帶有貶義的標籤。即使過了這麼多年,德布西的音樂經常被演奏、分析與討論,但大多注重在技巧方面。而對於德布西的音樂,與「印象派」這樣的標籤,究竟 兩者之間有著些什麼樣的關係,則時常以幾句似是而非的言語帶過,進而影響聆 聽、演奏時的認知,產生許多誤解。 本篇論文先探討作曲家所處的時空環境,透過相關文獻的參考,試圖將應該 具有的背景認知,以重點的方式呈現。樂曲上比較德布西早期的作品《貝加摩》 組曲(Suite Bergamasque, 1890-1905)、與成熟時期的《為鋼琴的》組曲(Pour le piano,1901)。兩首作品在標題或背景上,與巴洛克時期有著明顯的關聯,筆者也嘗試透過分析比較的方式,將這一部分凸顯出來。透過前面的背景論述與分析作為根基,反應在詮釋樂曲上,呈現出各曲應該注意的演奏面向。 zh_TW
dc.description.abstract After the war of Prussia and France, 1871, the French musicians started a culture reviving of France, against the powerful culture of Germany. There are two groups doing this in different way: the academism musicians, such as Camille Saint-Saëns, Jule Massenet etc., who kept musical works in delicate small scale, and the “bande de Franck”, such as César Franck, Vincent d’Indy, Ernest Chausson etc., who learned the Germanic characteristics, to break the conservative situation of French music. But Debussy, neither the academism nor “bande de Franck”, searching his own way, created a new direction for music. With his new innovation, Debussy’s music was compared with the impressionism painting, the so called “Impressionism”. After one hundred some years, people still often do this comparison, using this label to interpret Debussy’s music, which Debussy himself rejected this statement. And this wrong conception made performers doing “vague” in music, and creates unnecessary images in thought. The author points out the reason why Debussy is not a Impressionism in his music nor thought, and as a performer, how to get closer to Debussy’s ideology, and affect to the performers interpreting. This essay analyzes two piano suites of Debussy, Suite Bergamasque and Pour le piano, both looking back to the Baroque era, music of François Couperin (1668-1733) and Jean-Philippe Rameau (1683-1764). Through the pieces, we will find how Debussy got rid of Germanic influence, and revived French culture and spirits, and how Debussy used the Baroque idea in a new era of composition. en_US
dc.description.sponsorship 音樂學系 zh_TW
dc.identifier G060190022M
dc.identifier.uri http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060190022M%22.&%22.id.&
dc.identifier.uri http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108199
dc.language 中文
dc.subject 德布西 zh_TW
dc.subject 印象主義 zh_TW
dc.subject 象徵主義 zh_TW
dc.subject 《貝加摩》 zh_TW
dc.subject 《為鋼琴的》 zh_TW
dc.subject 組曲 zh_TW
dc.subject Debussy en_US
dc.subject Impressionism en_US
dc.subject Symbolism en_US
dc.subject Bergamasque en_US
dc.subject Pour le piano en_US
dc.subject suite en_US
dc.title 克勞德・德布西兩套鋼琴組曲比較性研究—《貝加摩》組曲、《為鋼琴的》組曲 zh_TW
dc.title The Comparative Research of Claude Debussy’s Two Piano Suite: Bergamasque and Pour le piano en_US
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