紐斯泰特《齊克果的祈禱文》音樂分析與詮釋

Abstract

努特・紐斯泰特(Knut Nystedt, 1915-2014)為挪威重要的作曲家之一，自幼出生在基督教家庭、受到作為業餘小提琴家的父親影響，在高中開始作曲生涯。作曲風格受到浪漫樂派、民族浪漫樂派、新古典樂派以及二十世紀的前衛音樂所影響，具有折衷的風格。1950年起創立挪威獨唱家合唱團(Det Norske Solistkor)，直至1990年持續帶領合唱團進行海內外巡演、發表新作。1999年退下挪威獨唱家合唱團常任指揮的身份後，受到合唱團邀稿創作《齊克果的祈禱文》(Prayers of Kierkegaard)以紀念創團五十週年。《齊克果的祈禱文》共有六個樂章，使用丹麥神學、哲學家索倫・齊克果(Søren Aabye Kierkegaard, 1813-1855)手稿、基督教主題文章中的六篇祈禱文為文本，在齊克果翻譯名家霍華德・洪與艾德納・洪(Howard V. Hong and Edna H. Hong)編纂下譯為英文歌詞。編制為無伴奏混聲合唱，四聲部皆有出現兩部的分部，並且在第三、五樂章使用短暫的女高音獨唱。紐斯泰特在旋律上使用受到格雷果聖歌影響的拱形線條、在和聲上使用延伸和弦與音堆等；大部分的樂段本身帶有調性色彩，以該調的音階作為音高組織的元素作曲。本論文共分為四章，第一章「緒論」共有三節，分別敘述研究動機、研究範圍與內容、研究方法與文獻資料；第二章「背景探究」共有三節，分別敘述紐斯泰特之生平、其音樂風格及合唱作品、《齊克果的祈禱文》歌詞介紹；第三章「創作手法分析與音樂詮釋」共有七節，敘述《齊克果的祈禱文》各個樂章的創作手法與音樂詮釋；第四章則為本論文的「結論」。

Knut Nystedt (1915–2014) was one of Norway’s most important composers. Born into a Christian family and influenced by his father, an amateur violinist, he began composing during high school. His compositional style reflects an eclectic and diverse blend of influences, including Romanticism, National Romanticism, Neoclassicism, and twentieth-century avant-garde music. In 1950, he founded"Det Norske Solistkor" (The Norwegian Soloists’ Choir), which he led on national and international tours and premiered new works until 1990. After stepping down as the principal conductor of the ensemble, he was commissioned in 1999 to compose "Prayers of Kierkegaard" to commemorate the 50th anniversary of the choir. "Prayers of Kierkegaard" consists of six movements, setting six prayers written by the Danish theologian and philosopher Søren Aabye Kierkegaard (1813–1855), drawn from his manuscripts and Christian-themed writings. The English texts were compiled and translated by Howard V. Hong and Edna H. Hong. The piece is scored for unaccompanied mixed choir, with each vocal part divided in two, it also includes brief soprano solo parts in the third and fifth movements. In terms of compositional technique, Nystedt used arched melodic lines inspired by Gregorian chant, extended chords and tone clusters to create rich harmonic color. Most sections maintain a sense of tonality, with pitch material derived from scales.This thesis is divided into four chapters. The Introduction chapter includes three sections discussing the motivation, research content, methodology and related literature. Chapter Two contains Nystedt’s biography, his musical style and choral works, and an introduction to the texts of"Prayers of Kierkegaard". Chapter Three is the analysis and interpretation of "Prayers of Kierkegaard", divided into seven sections, examining each movement of the work. Chapter Four presents the thesis’s conclusion.