舒曼《晨歌》與《森林情景》之演奏探討
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2021
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在本論文中，筆者以羅伯特‧舒曼(Robert Schumann, 1810-1856)之鋼琴作品《晨歌，作品一三三》(Gesänge der Frühe Op.133, 1853)為主要研究。本文共分成五章，第一章為舒曼杜塞朵夫時期，共可以分成兩小節，第一節為舒曼杜塞朵夫時期指揮工作，第二節為舒曼健康狀況與感情生活，藉此兩個面向，來剖析舒曼此時期的創作心境；第二章為本篇論文核心，探究《晨歌，作品一三三》之創作背景，與各小曲之樂曲分析與詮釋；第三章為《森林情景，作品八十二》(Waldszenen, Op.82, 1848)選曲之樂曲分析與詮釋，探究《森林情景》之創作背景，與六首選曲之樂曲分析與詮釋；第四章為《晨歌》與《森林情景》之比較，藉由將《森林情景》與《晨歌》互相比對，對照筆者在第二章《晨歌》分析中提出的論點；第五章為全文結語。
In this thesis, the author mainly focuses on Robert Schumann's piano work Gesänge der Frühe, Op.133(1853). This article is divided into five chapters. The first chapter introduces Schumann’s Düsseldorf period. It can be divided into two sections. The first section deals with Schumann’s period as a conductor in Düsseldorf, and the second section with Schumann's health and emotional life. These two aspects are used to analyze Schumann's creative mood during this period. The second chapter constitutes the core of this thesis. Here the author explores the creative background of Gesänge der Frühe and provides analysis and interpretation of the music of each piece. In the third chapter, the author explores the creative background of Waldszenen, Op. 82 (1848) and provides analysis and interpretation of the music of selected pieces. The forth chapter is a comparison between Gesänge der Frühe and Waldszenen. By contrasting Gesänge der Frühe with the Waldszenen, the author offers another perspective supporting the previously mentioned arguments in the second chapter. The fifth chapter brings the whole text to a conclusion.
In this thesis, the author mainly focuses on Robert Schumann's piano work Gesänge der Frühe, Op.133(1853). This article is divided into five chapters. The first chapter introduces Schumann’s Düsseldorf period. It can be divided into two sections. The first section deals with Schumann’s period as a conductor in Düsseldorf, and the second section with Schumann's health and emotional life. These two aspects are used to analyze Schumann's creative mood during this period. The second chapter constitutes the core of this thesis. Here the author explores the creative background of Gesänge der Frühe and provides analysis and interpretation of the music of each piece. In the third chapter, the author explores the creative background of Waldszenen, Op. 82 (1848) and provides analysis and interpretation of the music of selected pieces. The forth chapter is a comparison between Gesänge der Frühe and Waldszenen. By contrasting Gesänge der Frühe with the Waldszenen, the author offers another perspective supporting the previously mentioned arguments in the second chapter. The fifth chapter brings the whole text to a conclusion.
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舒曼, 《晨歌》, 《森林情景》