若利維《給長笛與鋼琴的奏鳴曲》之樂曲分析與詮釋

Abstract

若利維以其喜愛的部落儀式及魔法故事作為創作樂曲的靈感，並認為音樂是種超越語言、種族的藝術表現形式。在其音樂創作思維上，與自然的本質及運行法則息息相關，亦試圖探索著音樂如何能夠以最直接的方式觸動人心。究竟在若利維音樂中，不論聽覺上或是譜面之視覺上，所呈現神秘且複雜之狀態所蘊含的核心，是否可嘗試藉由其喜愛之思想——萬物運行法則「陰陽」解構與詮釋？本文將藉上述之方法，以若利維《給長笛與鋼琴的奏鳴曲》為例進行探討。文章結構分為五個章節：第一章為緒論，將闡述筆者之研究動機與方法；第二章為作曲家，將介紹若立為之生平與其創作思維並簡介其核心作曲概念；第三章為樂曲分析，筆者將探討各樂章曲式與分別之核心概念，闡述運用在陰陽概念上的關係；第四章為樂曲詮釋，筆者將先以吹奏方法及身體運用，帶入探討其與陰陽之連結，依序詳述之；第五章為結論，將以若利維核心思想為軸心串連各章結構，加上與筆者自身的關係最後再收攏於本章欲揭示的主要概念。André Jolivet, who takes ritual ceremonies and magical tales as inspirations of his composition and regards that music, is a form of artistic expression beyond language and race. In the thoughts of his music composing, is highly relative to the essence and the rules of Nature, in the meantime, he explores the way how music can touch human most immediately. The purpose of this thesis is thriving to deconstruct and interpret Jolivet’s work: Sonata for Flute and Piano (1958) by using the perspective of Ying-Yan, a philosophy from China which Jolivet truly admires. Five chapters are included in this thesis. Chapter 1: Introduction, which reveals the motive, purpose and method of the research. Chapter 2: Composer, which emphasizes the summary of Jolivet’s life, thoughts about music and composing technique: Incantatory style. Chapter 3: Analysis, which presents the main structures and the core concepts of each movement and then try to expound the relationship between Ying-Yan and analysis. Chapter 4: Interpretation, which explains the concept of breathing, which is particularly relevant to physical use and Ying-Yan, then how to apply it to the whole piece. The last, chapter 5 comes to the conclusion.