德布西《前奏曲第二冊》研究

Abstract

阿希爾．克勞德．德布西 (Achille-Claude Debussy, 1862-1918) 是十九世紀末至二十世紀初的重要作曲家之一，他不遵循傳統和聲與理論規則，創造出許多色彩斑斕的鋼琴與管弦樂團等編制的作品。德布西在世時已被許多學者歸類為印象主義，然而多年後逐漸有不少人嘗試推翻此說法，認為德布西應為象徵主義作曲家。對此，本論文將於第一章從生平資料延伸，探討德布西與二項主義運動的緣由與關聯。第二章則藉由作曲特色及文獻記載的德布西生前事跡，解說演奏其作品所需的觸鍵及踏板等技巧。並於第三章進入本論文主題，針對《前奏曲第二冊》的樂曲背景及分析詮釋，提出個人見解。關於筆者在此次研究過程的觀察與心得，則一併於最後章節總結提出。Achille-Claude Debussy (1862-1918) emerged as a pivotal composer in the late 19th and early 20th centuries. His musical idiom, as revealed in his works for piano, ensemble, and orchestra, emphasizes tonal color while deviating from traditional harmonic tonality. Scholars, especially during Debussy’s lifetime, often applied the term “Impressionism” to this idiom. In recent years, however, it has been argued that his style belongs to the school of “Symbolism”. The first chapter of this thesis will explore Debussy’s affiliation with these two movements, drawing from biographical data. The second chapter will explain keyboard and pedal techniques required to perform Debussy’s works, based on his compositional characteristics and historical documents. The third chapter will delve into the central theme of this thesis by analyzing the music from Debussy’s second book of Preludes. Personal observations and insights gained by the author during this research process will be summarized in the final chapter.