莫里斯．拉威爾《天方夜譚作品41》之分析與演奏詮釋

Abstract

1903年，作曲家拉威爾(Maurice Ravel, 1875-1937)在閱讀詩人克林索(Tristan Klingsor, 1874-1966)的詩篇《天方夜譚》後，著手聲樂曲的寫作。自幼對異國文化深感興趣的拉威爾，在萬國博覽會中接觸俄國色彩絢麗的交響樂、以及東方色彩的音階形式後，結合自身的豐富想像，完成了此作品。這是拉威爾第一首使用管弦樂當作伴奏的藝術歌曲，此作品被音樂學者認為是作曲家對林姆斯基．高沙科夫(Rimsky-Korsakov, 1844-1908)的交響樂作品《天方夜譚》(Scheherazade, 1888)的致敬，豐富多變的音樂也體現作曲家對東方文化的著迷與敬畏。 本論文總共有六個章節，第一章為緒論，說明研究動機，描述研究概要、文獻探討來源與方式；第二章介紹音樂家背景，闡述作曲家的生平、二十世紀初的歐洲時代背景。接著說明作曲家的音樂風格，將拉威爾的創作特色彙整為條列式重點，列舉譜例的說明、講述法文藝術歌曲的發展起源以及重要的詩派、《天方夜譚》的三首詩詞翻譯，並說明歌曲大意；第三章為分析樂曲結構，研究生使用樂團版本作為說明，由總譜的呈現，更清晰的將織度與音樂特色分析解釋；第四章為鋼琴合作之詮釋探討，研究生參考不同有聲資料的詮釋，結合自身看法統整出客觀的建議；第五章為不同錄音版本之比較；第六章為結論。

In 1903, Ravel had started to compose the French Mélodie Shéhérazade after he read the poem composed by the poet Tristan Klingsor. Ravel was interested in exotic astmospher in his childhood, and when he visited the Universal Exposition held in Paris, Ravel was stimulated by colorful Russian folk songs, its orchestra setting, also and the mysterious Oriental scale system. Then he combined these elements to compose these three songs. It was the first time that Ravel used orchestra setting as accompaniment in his works, and this piece is thought of as a tribute to one of Rimsky-Korsakov’s piece with the same title. His diverse and also rich music style reflected Ravel’s obsession and admiration for Oriental culture. This Thesis contains six chapters. The first chapter describes the research motive, the author’ purpose, and the method of the research. The second chapter introduces the development of French music from late nineteenth century to early twentieth century and the biography of Maurice Ravel, which introduces this composer's composition style and Crucial works. Besides, the second chapter also includes the development of the French Mélodie, two important school of poetry, the translation of Shéhérazade , and its meaning. The third chapter analyzes the structure of the original orchestra version of these three songs. The fourth chapter is interpreted from the perspective of collaborative piano, discusses Ravel' Shéhérazade , the author refers to audio data, and compares her own analysis with other musicians. The fifth chapter focuses mainly on the comparison among these audio data. The last chapter is the conclusion.