撒姆爾．巴伯《輪迴》作品分析與音樂詮釋

Abstract

撒姆爾．巴伯(Samuel Osborne Barber II, 1910¬ -1981)是二十世紀美國音樂的代表作曲家，一生創作的曲種多樣化，從獨唱(奏)曲、合唱曲、芭蕾、管弦樂曲到歌劇都有。而在這求新求變的實驗音樂洪流中，秉持著調性、調式音樂與浪漫精神，以文學素養與情感表達為出發點，使他的樂曲得以廣受歡迎。 曾就讀寇帝斯音樂院的巴伯，1939年受邀回母校指導牧歌團，創作出多首精彩的合唱曲，其中無伴奏合唱組曲《輪迴》(Reincarnation. Op. 16) ，以分別代表愛、失去與渴望的三首愛爾蘭文學創作，搭配音樂上的精巧設計與新浪漫音樂風格，至今仍是認識美國合唱音樂的經典之作，除了在美國經常上演，更被錄製成許多有聲版本。 因家族中的音樂背景：母親是業餘鋼琴家、與他關係密切的阿姨是紐約大都會歌劇院女低音、姨丈是藝術歌曲作曲家，使他自幼即受音樂薰陶。成年後巴伯進入寇蒂斯音樂院修習作曲、聲樂及鋼琴。他對文學熱愛並廣泛涉略，運用許多當代作家的詩詞譜寫音樂，而他的人聲作品數量即占總作品量的一半。 四聲部無伴奏組曲《輪迴》包含三首樂曲，取自愛爾蘭詩人詹姆斯．史蒂芬斯(James Stephens, 1882-1950)的同名詩集《輪迴》，創作出對傳奇女神崇拜的〈瑪莉．海恩斯〉、對反叛領袖殉道的哀歌〈安東尼．歐．達利〉，及描繪夢境中對情感渴望的〈庫林〉。 本論文共分為五個部分，第一章「緒論」探討研究動機、研究範圍與內容、及研究方法與文獻；第二章「背景探究」分為四節，分別論述巴伯生平、音樂風格與合唱作品 簡介、作詞家生平與《輪迴》的創作背景；第三章「歌曲分析」分為三節，分別論述三首樂曲的創作手法；第四章「音樂詮釋」分為三節，給予三首樂曲的排練注意事項與教學建議。第五章為「結論」。附錄一為巴伯出版的合唱作品一覽表。Samuel Barber is an important American composer in the twentieth century whose compositional output includes extensive category: solo works, chorale, ballet music, orchestral pieces and operas. Despite of being in a time of experimentalism, he still maintains his music style of the tonality and Romanticism, and many of them are inspired by literary influences. Barber grew up in a family of musicians, and himself studied composition, piano and voice in the Curtis Institute of Music. He is particularly fond of literary works; half of the output is related to literary influences, and he applied many lyrics to his vocal compositions. The four-voice a cappella Reincarnation op.16 was composed between 1937- 40, published in 1942, and two of them premiered by the Madrigal Chorus at the Curtis Institute of Music. It comprises of three distinctive pieces, and the lyrics are derived from Irish poet James Stephens' poems with the same title "Reincarnation." The first piece worships the goddess Mary Hynes, the second one mourns the death of Anthony O' Daly, and the third "The Coolin." describes the desire in dreamland. This thesis contains five parts: the first part serves as an introduction; the second part discusses the backgrounds of the composer, the poet, and the particular piece. The third part analyzes the choral work by its different movements. The fourth part offers the author's interpretation as well as the suggestions for teaching the music. The final part concluded the thesis. One appendix is a list of Barber’s published chorus works.