楊艾琳Yang, Irene林含儒Lin, Han-Ju2019-09-062022-06-302019-09-062017http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060290031M%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108230法文藝術歌曲 (Mélodie) 由十八世紀的浪漫曲 (Romance) 發展而來，浪漫曲的歌詞多以歷史、田園或感傷的情感為主題。十九世紀中受巴那斯詩派 (Parnassism) 影響，詩詞排除浪漫派 (Romantics) 的主觀表達，開始大膽追求外在對象的客觀描述及對異國風情的描寫，可以發現此時期的作曲家選擇詩作時，以容易入樂且易表現動物神態的巴那斯詩派為主。本文探討於1865年至1890年間四位作曲家以「動物」為標題進行創作的九首法文藝術歌曲，分別為聖桑斯 (Camille Saint-Saëns, 1835-1921) 的《瓢蟲》(La coccinelle) 與《夜鶯》(Le rossignol)、比才(Georges Bizet, 1838-1875) 的《瓢蟲》(La coccinelle)、夏布里耶 (Emmanuel Chabrier, 1841-1894) 的四首作品《大火雞之歌》(Ballade des gros dindons)、《蟬》(Les cigales)、《粉紅豬的田園曲》(Pastorale des cochons roses) 與《小鴨子田園之歌》(Villanelle des petits canards) 和蕭頌 (Ernest Chausson, 1855-1899) 的〈蝴蝶〉(Les papillons) 與〈蜂鳥〉(Le colibri)，計九首。 這些作品皆採用十九世紀當代法國著名詩人的詩，詩人分別為雨果 (Victor Hugo, 1802-1885)、邦維爾 (Théodore de Banville, 1823-1891)、羅斯坦德 (Edmond Rostand, 1868-1918)、傑哈爾 (Rosemonde Gérard, 1866-1953)、高提耶 (Théophile Gautier, 1811-1872) 和黎瑟 (Charles Leconte de Lisle, 1818-1894)。 從這九首歌曲可以發現其詩作具有工整的詩律、流暢的語韻和音樂性的文字，題材一改自然詩派單純寫景或是描寫動物，而使用隱喻手法描寫或反諷現實生活的人物。曲式多為貫穿式 (through-composed) 和詩節式 (strophic)，喜歡設計動機或主題來代表動物的動作、聲音或個性，並以此串連全曲。他們使用相似的音型描繪動物的動作，在人聲或鋼琴聲部常使用同音反覆的手法，模仿說話的口吻或表現心中呢喃的聲音，也會以同音的方式或一音節多音 (melismatic) 的段落描繪動物不同的個性。作曲家擅長以模進的手法營造氣氛或是鋪陳高潮，也有在作品內引用前人作品中的旋律來藉此隱喻。鋼琴伴奏則常接續歌者旋律線條或是扮演場景交換的角色。這些作品在歌曲中不斷的重複相同音型或是樂句，有時因過份重複而有好笑的意味，以此手法讓人留下深刻的印象，似乎是為了與當時其他優美的歌曲做區分。這些都成為此時期法文藝術歌曲中此類標題的作品重要的特色。 這些作品是以「動物」為標題進行創作，因此詮釋應當比其他類型主題更富有畫面感，也可以增加音色的轉換。故歌者需要迅速融入情境，並確實的呈現出歌詞的逗趣感、臉部的豐富表情及適當的動作，才能正確的展現出作曲家所要的氛圍。Mélodie originated from the 18th Century Romance. The themes of the lyrics in Romance are mostly related to history, pastures, or sorrowful emotions. Because of the Parnassism influence in the 19th century, the poets eschewed the influences of the subjective perspectives of the Romantics, and daringly undertook the objective narrative and the narrative of exotic countries. One discovers that when selecting poems, the composers usually use Parnassism poems that are easy to orchestrate and evoke the characteristics of the animals. This thesis looked into the nine animal-related titled French art songs of four composers between 1865 to 1890, which include: La coccinelle and Le rossignol composed by Camille Saint-Saëns (1835-1921), La coccinelle composed by Georges Bizet (1838-1875), Ballade des gros dindons, Les cigales, Pastorale des cochons roses and Villanelle des petits canards composed by Emmanuel Chabrier (1841-1894), and finally, Les papillons and Le colibri composed by Ernest Chausson (1885-1899). These works of the famous French poets of the 19th century. They are Victor Hugo (1802-1885), Théodore de Banville (1823-1891), Edmund Rostand, (1868-1918), Rosemonde Gérard (1866-1953), Théophile Gautier (1811-1872) and Charles Leconte de Lisle (1818-1894). From these nine songs, the poems are generally with regular rhyme schemes, fluid rhythms and musical phrases. The topics generally express the realistic characters with a metaphorical manner or a parody instead of simply portrays the scenery or animals. The structures of the pieces are either through-composed or strophic, the composers liked to utilize motifs or themes to present the movements, sounds, or characters of the animals, and to unite the musical ideas. The composers used similar figure for the animals’ movements, used notes on the same pitch in voice melody or the piano part to represent a speech mannerism or inner thoughts of a person, used melismatic passages to paint the different character of the animals. The composers used sequences to heighten the ambience or build up to a climax, and sometimes quote phrases from predecessors as a way of allusion. The accompaniment usually relays the ends of the singer’s phrases or creates different settings in the song. These works are with repetitive musical figures or phrases. The overtly repetition create a comical effect, leaving a strong impression on the way it was utilized, making these mélodies different from the elegant ones. All these characteristics were prominent features of the French mélodie during this period. These works focus upon animal-related titles, therefore the interpretation of the humorous songs should be more animated than others, and also increase the conversion of tone. The singer must quickly immerse oneself in the narrative, using facial expressions and appropriate body movements to express the humor in the lyrics, in order to fully express the atmosphere that the composer had intended.法文藝術歌曲巴那斯詩派聖桑斯比才夏布里耶蕭頌雨果邦維爾羅斯坦德傑哈爾高提耶黎瑟MélodieParnassismCamille Saint-SaënsGeorges BizetEmmanuel ChabrierErnest ChaussonVictor HugoThéodore de BanvilleEdmond RostandRosemonde GérardThéophile GautierCharles Leconte de Lisle