舒伯特四首《即興曲》，作品142之音樂分析與詮釋

Abstract

弗朗茨・彼得・舒伯特（Franz Peter Schubert, 1797-1828）為浪漫樂派重要的作曲家。身處古典與浪漫主義的交接處，舒伯特以細膩的旋律線、獨特的和聲變化和轉調聞名，使他在音樂史上具有舉足輕重的地位。在十九世紀浪漫樂派時期，藝術家們逐漸摒棄傳統，崇尚個人主義，重視情感的表達，個性小品因其精簡的形式而受到青睞，而「即興曲」則是其中一個備受推崇的曲風。即興曲短小而自由，給予作曲家極大的創作空間，這正符合舒伯特的創作特長，使他能將即興曲帶到新的高度。本文旨在深入剖析舒伯特的《即興曲》，作品142，探討其音樂結構及音樂風格特徵，揭示這套作品如何體現舒伯特獨特的音樂語言，並透過對這些作品的分析，了解即興曲的特徵與內涵，以及舒伯特在創作中的獨特性，為演奏者提供廣泛的解釋空間。本文共分為五個部分：第一章為緒論，包含研究的動機、目的、範圍以及方法；第二章概述了舒伯特的生平背景、創作風格及即興曲的相關介紹，並將其創作風格細分為六個面向進行討論，分別為藝術歌曲的創作、平行調的轉換、三度調性關係、匈牙利風格、「長短短」音型的運用以及吉他的影響；第三章對《即興曲》作品142中的四首作品進行音樂分析，重點探討曲式、節奏、力度及和聲等方面；第四章為詮釋探討，分別以音樂詮釋及演奏技巧兩大方向，提出本文作者的建議與觀點；第五章為結語，統整全文的主要內容。Franz Peter Schubert (1797-1828) is an important composer of the Romantic era, standing at the crossroad of Classicism and Romanticism. Schubert is famous for his delicate melodic lines, unique harmonic color, and modulations, granting him a prominent position in music history. In the 19th-century, artists gradually abandoned tradition, embracing individualism and emphasizing emotional expression when composing. Character pieces became popular due to their concise form, and Impromptus became one of the most highly regarded styles. Impromptu is short and free in form, providing composers with ample creative imagination, which allowing Schubert to elevate the impromptu to new heights.This paper aims to delve into Schubert's Impromptus, Op. 142, exploring their musical structure and stylistic features, and revealing how this set of works reflect Schubert's unique musical language. Through the analysis of these pieces, we can understand the characteristics of impromptus, as well as Schubert's distinctiveness in his compositions, providing the performers with some of interpretative possibilities. The paper is divided into five sections, The first chapter is the introduction, including the research motivation, objectives, scope, and methodology; the second chapter gives an overview of Schubert's life background, creative style, and an introduction to the impromptus, further breaks down Schubert's compositional style into six areas of discussion: the creation of art songs, parallel key modulations, third-related key relationships, Hungarian influences, the use of the "long-short-short" rhythmic pattern, and the influence of the guitar; the third chapter offers a musical analysis of Schubert’s four Impromptus, Op. 142, focusing on form, rhythm, dynamics, and harmony; the fourth chaptercontains my interpretation, offering suggestions and perspectives of musical ideas; the fifth chapter is the conclusion, summarizing the entire content of this report.