論荀貝格十二音作曲法：以神劇《雅各的天梯》為例

Abstract

本論文探討荀貝格(Arnold Schoenberg, 1874-1951)的十二音作曲法之研究，透過梳理荀貝格的猶太裔身份，逐一闡述其「宗教觀」影響了「音樂觀」；並藉由神劇《雅各的天梯》之創作歷程，顯明荀貝格在發展、創新此作曲法之階段所遇困難、挑戰。另外，也藉由荀貝格另一作品──歌劇《摩西與亞倫》作比較，說明十二音作曲法邁向成熟之歷程。內文依序由荀貝格簡介及其猶太觀，荀貝格受其影響之哲學思潮、音樂觀、藝術觀，逐一探討。此外，透過神劇《雅各的天梯》之文本分析，說明其中的宗教觀點、整全觀點；而亦藉由神劇《雅各的天梯》之音樂分析，聚焦十二音作曲法，並揭示其中不易之處，進而從雛形樣貌延伸至成熟之路徑。This thesis explores the study of Arnold Schoenberg’s (1874-1951) twelve-tone method. By analyzing Schoenberg’s Jewish identity, it explains one by one the influence of his “religious view” on his “musical view”, and through the creation of the Oratorio “Die Jakobsleiter”, it shows the difficulties and challenges that Schoenberg encountered in developing and innovating this compositional method. In addition, Schoenberg’s other work, the Opera “Moses und Aron”, is used as a comparison to illustrate the process of maturation of the twelve-tone method.In order, the text explores Schoenberg’s introduction and his views on Judaism, as well as the philosophical, musical, and artistic influences on his compositions. In addition, the textual analysis of the Oratorio “Die Jakobsleiter” illustrates the religious and holistic perspectives; the musical analysis of Oratorio “Die Jakobsleiter” focuses on the twelve-tone method and reveals the difficulties involved in the process, and then extends it from its embryonic form to the path of maturity.