艾伍士《第三號小提琴與鋼琴奏鳴曲》之樂曲分析與演奏詮釋

Abstract

出生於十九世紀中後期的一位商人──艾伍士(Charles Ives, 1874-1954)，因 其創作的音樂作品極具實驗性和創新性，而被後世認定為二十世紀最重要的作曲家之一，其對音列和複調性等創作技巧之嘗試甚至比荀伯克、斯特拉溫斯基等著 名的作曲家來得更早。艾伍士亦在他的作品中大量援引本土音樂以及教會讚美詩的旋律，後更試圖以音樂本質的內容描繪美國人的共同經驗，使其作品帶有超前 且獨特的敍事性，而他對美國理想主義的思考亦使他成為首位真正意義上的美國本土作曲家。本研究分為四個部分，第一部分主要探討艾伍士的生平背景，揭示艾伍士在 學習不同音樂傳統之下所受到的美學衝擊;第二部分以「新英格蘭超驗主義」思 潮和艾伍士的著作《在奏鳴曲之先的短文》作為起點，嘗試交代艾伍士成熟時期的美學判斷，以及由其所衍生的音樂形式;第三部分集中討論《第三號小提琴與 鋼琴奏鳴曲》的創作背景和樂曲分析;第四部分為樂曲之演奏詮釋研究，以樂譜 和上述研究論點歸納出更貼近作曲家原意的詮釋方式，並提供演奏上的建議。A businessman born in the mid to late 19th century, later recognized as one of the most influential composers in the 20th century, Charles Ives’s works were incredibly experimental and innovative. His attempts to use composing skills such as serialism and polytonality were even earlier than those of Schönberg and Stravinsky, respectively. Ives also quoted a significant number of tunes from the vernacular music and church hymns. Later, he tried to depict American's collective experience through only the intrinsic nature of music, which made his narratives unprecedented at his time. Ives’s thought on American Idealism makes him, in the true sense, the first native American composer.

This study is divided into four parts. The first part mainly narrates the life background of Ives and reveals how the learning of different music traditions impacted his musical aesthetic; the second part starting with the then trend of thought “New England Transcendentalism”and Ives's book Essay Before a Sonata, attempts to account for Ives's aesthetic judgment in his mature works and the musical manners derived from it; the third part focuses on the background and musical analysis of Ives's Violin Sonata No. 3; The fourth part will be the study of performance interpretation, with the score and aforementioned grounds, aiming to conclude an interpretation more closely related to the composer’s original intention, and further provides the guidance for performance.