法國號爵士風格曲目探討: 道格拉斯・希爾給獨奏法國號的《爵士集》之研究

Abstract

法國號由於其音色特質與技巧控制上的挑戰，在爵士樂早期的發展歷程中長期被排除在外。直到1939年，法國號首次出現在爵士樂隊中，並在酷派爵士中逐漸取得重要地位。此後，陸續出現許多位備受矚目的爵士法國號演奏家，成功打破法國號「不適合演奏爵士樂」的刻板印象。隨著時間推移，越來越多作曲家與法國號演奏者嘗試將爵士語彙融入法國號獨奏作品之中。本研究聚焦於法國號在爵士樂歷史中的發展脈絡，簡述爵士樂各時期風格與歷史背景、探討法國號在爵士樂中的發展及著名的演奏家，並以道格拉斯・希爾所創作之《爵士集》為例，分析其中的演奏詮釋及延伸技巧，期望建立一套完整的法國號爵士風格作品研究。

Owing to its tone and technical challenges, the horn was initially excluded from early jazz development. It was not until 1939 that the horn made its first appearance in jazz ensemble and gradually found its significant role in Cool Jazz. During this period, several notable jazz horn soloists emerged, breaking the stereotype that the instrument was unsuitable for jazz performance. As time passed, some composers and horn players began incorporating jazz elements into solo works for horn.This dissertation focuses on the development of the horn in jazz history. It provides an overview of jazz styles and historical background across different periods, explores the evolution of the horn in jazz and its prominent soloists, and takes Douglas Hill’s Jazz Set as a case study to analyze its performance interpretation and extended techniques. This research aims to establish a comprehensive study of jazz-influenced repertoire for the horn.