庫謝維茲基《低音提琴與鋼琴的四首小品暨升F小調低音提琴協奏曲作品三》之作品研究及演奏詮釋

Abstract

謝爾蓋．亞力山德羅維奇．庫謝維茲基（Serge Alexandrovitch Koussevitzky, 1874-1951）於1902年創作低音提琴與鋼琴的四首小品，及一首低音提琴協奏曲。這些作品在低音提琴的演奏曲目中佔有非常重要的地位，四首曲式架構簡短、輕鬆的小品，每一首都有其獨特的個性；而這首協奏曲無論在教學、學生音樂會、比賽或考試，皆是大家的首選名曲，其低音提琴技巧的展現及帶有俄羅斯的音樂風格，在第一時間就能吸引眾人目光。經由樂曲分析與詮釋，對樂曲結構與曲式更加了解，樂曲中困難樂段是過去筆者在教學上較費心的部分，透過本次研究，整理出練習方法及詮釋，不僅能提升自我的教學技能，且讓學生得到更適合的練習方法，也能做為其他教學者之參考。本論文共分為五章。第一章為緒論，概述研究動機及研究方法；第二章，以時間軸的方式敘述庫謝維茲基的生平，推動新音樂的努力及對音樂界的貢獻；第三章，為庫謝維茲基為低音提琴與鋼琴所作的四首小品之作品分析及詮釋探討；第四章，則是低音提琴協奏曲作品三之作品分析與詮釋；最後的第五章為結論。Serge Alexandrovitch Koussevitzky (1874-1951) composed four short pieces for double bass and piano, as well as a concerto for double bass in 1902. These works hold a significant place in the repertoire for the instrument, with their concise and light-hearted structures, each possessing its own unique personality. The concerto, in particular, is a favorite among students, frequently chosen for teaching, student recitals, competitions, and examinations. Its display of double bass technique, coupled with a distinctly Russian musical style, captivates audiences instantly.Through the analysis and interpretation of these musical works, a deeper understanding of their structures and forms is attained. The challenging passages within the music have been a focus of the author's teaching efforts in the past. Through this research, methods of practice and interpretation have been organized, not only enhancing the author's own skills but also providing more suitable practice methods for students. This work can also serve as a reference for other educators. This paper is divided into five chapters. The first chapter serves as an introduction, outlining the research motivation and methodology. The second chapter chronicles Koussevitzky's life in a timeline format, detailing his efforts to promote new music and his contributions to the music world. The third chapter offers an analysis and interpretation of the four short pieces composed by Koussevitzky for double bass and piano. The fourth chapter delves into the analysis and interpretation of his Concerto for Double Bass Op. 3. Finally, the fifth chapter presents the conclusion.