蕭士塔高維契《二十四首前奏曲》作品三十四之研究與詮釋

Abstract

「鍵盤前奏曲」萌芽於十五世紀，為具有引導功能和即興風格的曲式。巴洛克時期巴赫在《十二平均律》奠定了前奏曲二十四個調性的傳統，而浪漫時期的蕭邦則在《二十四首前奏曲》中使前奏曲成為獨立、表達情感的小品。在前輩作曲家的薰陶之下，二十世紀的蘇聯作曲家蕭士塔高維契（Dmitri Shostakovich, 1906-1975）也創作了《二十四首前奏曲》作品三十四，並在此作品中展現出新古典主義的特質，將舊有的曲式賦予了新的意涵。本文以蕭士塔高維契《二十四首前奏曲》作品三十四為研究主題，以此了解鍵盤前奏曲之發展脈絡、蕭士塔高維契的作品風格，進而提出筆者對此作品的詮釋看法。 本文共分為六章：第一章為緒論，提出研究動機和方法；第二章為鍵盤前奏曲之發展脈絡，循著年代先後一一介紹個時期具指標性的前奏曲發展過程；第三章為蕭士塔高維契的鋼琴背景、鋼琴音樂特色與《二十四首前奏曲》的風格類型；第四章為二十四首前奏曲的樂曲分析，以樂曲結構、調性、調式和創作手法等切入觀點；第五章為詮釋探討，以性格與速度之間的關係、層次與音色，和節奏與語法三層觀點進行討論；第六章為結論，為全文的統整歸納。期待本文能夠使讀者和演奏者更貼近此作品，並欣賞其豐富的音樂內涵。

The genre "Keyboard Prelude" started in the fifteenth century, with its leading functions and improvisational style. During the Baroque period, J.S. Bach established the traditional twenty-four tonal keys of the preludes in The Well-Tempered Clavier. However, in the romantic period, Chopin made the preludes an independent and expressive short piece in the 24 Preludes. Under the influence and guidance of the prior renowned composers, the 20th century Soviet composer Dmitri Shostakovich (1906-1975) also composed the Twenty-four Preludes, Op. 34, and this work reveals the characteristics of neoclassicalism, giving the old style a new definition. In order to understand the development of the keyboard preludes and the style of Shostakovich’s works, this research is based on Twenty-four Preludes, Op. 34 by Shostakovich. The following research contains the author’s point of view toward the interpretation of Shostakovich’s piano preludes. This thesis is divided into six chapters. The first chapter, preface, introducing the motive and method of the thesis. The second chapter is the development of Keyboard Prelude, following the timeline to introduce the developing processes of representative preludes in each time periods. The third chapter is concerned with the piano background and musical style of Shostakovich, and the types of styles in the Twenty-four Preludes, Op. 34. The fourth chapter, the musical analysis of Twenty-four Preludes, in terms of the musical structure, tonality, mode, and composing approach. The fifth chapter is the interpretation of Op. 34, discussing three dimensions: relationship between character and tempo, voice layer and timbre, rhythm and articulation. Summary and conclusion of the thesis are mentioned in the sixth chapter. I sincerely hope that this article will bring readers and performers a clearer and closer connection towards this work, and appreciate its rich musical expressions and insights.