佩爾特（Arvo Pärt, b. 1935）音樂風格蛻變前後的合唱作品研究

Abstract

佩爾特 (Arvo Pärt, b.1935)，愛沙尼亞當代音樂傳奇，他獨特的聲響美學，為現代音樂同時注入古老與時尚的潮流，創作力驚人，影響了許多當代的作曲家。早年的作品以器樂作品為主，從「新古典主義」、蘇維埃社會寫實主義、「十二音列」、「拼貼主義」，到蛻變後的「鐘聲風格」 (tintinabuli)，每一階段都有極大的風格轉變。

早期音樂與現代主義在佩爾特的語彙裡，無分軒輊，互為表裡，他回歸中世紀與文藝復興的簡樸純淨，追尋聲響上的空谷幽然，啟發心靈上的無限悸動，在緩進飄移中堅守調性的傳統。他不斷實驗，只為追尋音樂的核心價值。1969年《信經》首演後暫別樂壇，進入蛻變期，1976年復出後，以自創的鐘聲風格來表現音樂的冥想性，回歸東正教的宗教思想。

鐘聲風格，就是將兩條以上的旋律線交織於中心音的對位形式，主要是級進的自然音階旋律與一個或多個其他聲部發出主三和弦的和聲，又分為兩個聲部：一是級進式的主旋律聲部，代表身體與人間；二是跳進的鐘聲聲部，遊走於旋律聲部的上下音，代表靈性與天堂。這兩個聲部如同永恆的二元對等關係，在現實中亦密不可分。

本文以佩爾特的合唱音樂為研究主軸，從泛音原理、旋律的產生、和聲的形成、複音音樂的起源，循著歷史的演進脈絡，投入大量閱讀，再用科學的方式探究，就能解析出佩爾特的音樂包含了調性的抽象思維、中世紀形式的前衛風格、「後現代主義」的再演化，也是聲響行為的再進化。

佩爾特認為音樂的本質是從內而外產生的，因此他有很多同一作品出現多樣版本的現象，音色的異同是關鍵，來實踐聲響上更多的可能性，以及尋求個人宗教更深遠的精神性。

再選取十二首各時期的重要合唱作品分析、比較，並佐以聲音物理來解析不同的歌詞與配器，所產生出各異的泛音組合，讓音色的變化眼見為憑，來爬梳出佩爾特的創作思維以及轉變的跫音。Arvo Pärt (b.1935), Estonian legend of contemporary music. His unique musical aesthetics injects ancient and fashionable trends into contemporary music. He is a prolific composer has influenced many contemporary composers. In his early years, the works were mainly instrumental music from Neo-classicalism, Soviet social Realism, Twelve-tone technique, Collageism, to the tintinabuli. There are radically style transformations in each phase.

For Pärt, there is no distinction in early and modern music. He retrace to the pure musical style of the Medieval and Renaissance period. He pursues the silent and secluded sound, inspires the infinite stimulation, and preserves the tradition of tonality in slow tempo. He keeps experimenting for exploring the core value of music. After the premiere of Credo in 1969, he entered so-called “period of silence” and ceased serious composition to discover the natural music essence. When he began composing again in 1976, he created a new style named “tintinnabuli” which is in meditative silence and tracks back to the religious thought of early Orthodox Church.

Tintinnabuli is the alignment of two or more melody lines in the center note, mostly stepwise diatonic melody and one or more other voices that sound only notes off the tonic triad which are divided into two voices: The first is the stepwise melodic voice which represents the body and early, and the second is the leaping tintinnabuli voice which moves around the ups and downs of the melodic voice representing spirituality and heaven. Both lines are likened to the eternally equivalent dualism and inseparable in reality.

This study focuses on comparative analysis of Pärt’s choral music. I will discover the theory of tintinnabuli with numerous readings and scientific ways and go from the origin harmonics, melody, harmony, polyphony. We will observe Pärt’s music contains tonal abstraction, the avant-garde style of the medieval form, the re-evolution of Post-modernism, and development of sound’s behavior. Those characteristics representative Pärt’s music by tracking the evolution of history.

Pärt’s believes that the essence of music is generated from the inside, so he has many different arrangements of the same works. The timbre is crucial factor to practice more sound’s possibilities and to seek personal far-reaching religious spirituality.

This study will analyze 12 masterworks to analyze and compare in every phases. In addition, I will use the method of sound’s physics to experiment that the diverse texts and instrumentations result from various combinations of overtones. This phenomenon cause to different timbres and let the changings of timbre can be seen and to organize Pärt’s compositional concept and to track his transformation.