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博碩士論文 etd-0803115-105946 詳細資訊
Title page for etd-0803115-105946
論文名稱
Title
以指揮的觀點探討柯普蘭《阿帕拉契之春》, 以十三件樂器版本為例
A study of Aaron Copland' s Appalachian Spring Suite, from a Perspective of Conductor
系所名稱
Department
畢業學年期
Year, semester
語文別
Language
學位類別
Degree
頁數
Number of pages
117
研究生
Author
指導教授
Advisor
召集委員
Convenor
口試委員
Advisory Committee
口試日期
Date of Exam
2015-06-17
繳交日期
Date of Submission
2015-09-03
關鍵字
Keywords
阿帕拉契之春、當代音樂、阿隆‧柯普蘭
Aaron Copland, Appalachian Spring, contemporary music
統計
Statistics
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中文摘要
阿隆‧柯普蘭(Aaron Copland, 1900-1990)是二十世紀重要的美國作曲家、鋼琴家、指揮家、音樂教育與評論家,樂曲創作類型涵蓋鋼琴曲、合唱曲、舞劇音樂、管弦樂曲、歌劇以及電影配樂,並寫有多本著作。柯普蘭致力於發展體現美國民族精神、開發美國風格的「美國音樂」,他畢生貢獻於創作屬於美國的民族音樂,並且將「美國音樂」推向國際。柯普蘭於一九三四年應庫利奇基金會(Coolidge Foundation)的邀請,為美國舞蹈家瑪莎.葛萊姆(Martha Graham, 1894-1991)寫作《阿帕拉契之春》,此曲本為舞劇音樂,首演後因廣受歡迎,由柯普蘭親自將其改編為管弦樂組曲以及編制為十三件樂器的室內樂組曲版本,本文使用《阿帕拉契之春》室內樂版本。
《阿帕拉契之春》為柯普蘭代表作品之一,組曲形式,全曲分為八個段落但須連貫演奏,段落特色分明,但曲式較為傳統;拍號與速度變化受史特拉汶斯基影響,頻繁而複雜;和聲與調性則極力擺脫傳統和聲進行,並時常使用調號與音響效果不相符合的手法創作;段落間巧妙利用音樂素材(特殊音程或節奏動機)將樂曲統一,旋律長短皆有,交錯使用並時常出現四度與五度音程;力度記號使用極端,樂句間呈現對比情形。《阿帕拉契之春》於演奏與指揮上有諸多困難處,但透過深入的讀譜、有效的排練方式並確切遵循柯普蘭於譜上著明的詳細速度變化與拍值轉換記號,就能順利演出此首樂曲。
在論文撰寫部分,前言說明研究動機、研究方法及論文架構,第一章介紹作曲家的生長背景與學習過程,並闡述此作品的創作歷程;第二章針對《阿帕拉契之春》樂曲之曲式、樂句、拍號、速度、調性和聲、動機、旋律、節奏、力度與管弦樂法等基本要素加以分析討論;第三章聚焦樂團排練與指揮技巧,針對較難演奏的樂段提供排練建議,並依據樂曲分析所得之結果,提出適當的指揮與詮釋方式;最後有結語與參考書目、音樂會節目單附錄。
Abstract
Aaron Copland (1900–1990) was an important twentieth century American composer, pianist, professor, author, and critic, whose musical output encompassed a range of styles and genres, including chamber, ballet, orchestral, opera, and film scores. Copland developed a style of instrumental music that was said to be imbued with the vast American landscape and a pioneering spirit, shaping a sound that has come to be regarded as “American music.” While his contribution to the development of American music, Copland also played a major role in internationalizing musical style. In 1934, at the invitation of the Coolidge Foundation, Copland composed Appalachian Spring, a piece of ballet music commissioned by the dancer Martha Graham (1894–1991). Due to its popularity, Copland later expanded the work into an orchestral suite, including a full 13-player version. This master thesis focuses on the chamber music version of Appalachian Spring.
Appalachian Spring is one of Copland’s representative works. It is divided into eight sections to be played without break. Although the sections have clearly distinct characteristics, the musical form is fairly traditional. The time signature and tempo variations, which are frequent and complex, are influenced by Stravinsky; the harmonies and tonality strive to break away from traditional harmonic progression, and often make use of discordant key signatures and sound effects as composition techniques. Ingenious use is made of musical source materials (particular intervals or motifs) between sections to unify the composition; melodies of different lengths are intertwined, with the frequent appearance of fourth and fifth intervals; extreme dynamic indications are used, while contrasts appear between phrases. There are many difficulties involved in playing and conducting Appalachian Spring but, with a thorough reading of the score, an effective approach to rehearsal, and exact compliance with Copland’s detailed tempo changes and notations of rhythmic transformation, it is possible to perform this composition successfully.
With regards to thesis writing methods, The introduction describes the author uses collation, analysis, and interpretation to present this musical work. Chapter 1 introduces the background to the composer’s development and learning process, and elaborates on the creative process behind this work. Chapter 2 provides an analysis and discussion of the key constituents of Appalachian Spring itself, including the musical form, phrasing, time signatures, tempo, tonal harmony, motifs, melody, rhythm, dynamics, and orchestration. Chapter 3 focuses on orchestral rehearsal and conducting techniques, providing suggestions for the rehearsal of comparatively difficult passages, and proposes an appropriate approach to conducting and interpretation based on the results of musical analysis.The final part include concluding remarks and bibliography, and a concert playbill in the appendix.
目次 Table of Contents
目錄
論文審定書................................................................................................i
摘要.........................................................................................................ii
Abstract ...............................................................................................iii
目錄……………………………………………………………………….…………...v
譜例目錄…………………………………………………………………….………..vii
表格目錄 ...............................................................................................x
圖目錄 ...............................................................................................xi

前言 ........................................................................................................1
第一章 阿隆‧柯普蘭生平、風格演變與《阿帕拉契之春》創作歷程 ................4
第一節 生平 ........................................................................................4
第二節 創作風格演變 ................................................................................9
第三節 《阿帕拉契之春》創作歷程 ......................................................14
第二章 《阿帕拉契之春》樂曲分析 ......................................................19
第一節 第一段落:樂曲開頭至排練號碼六 ..............................................19
第二節 第二段落:排練號碼六至十六 ......................................................25
第三節 第三段落:排練號碼十六到二十三 ..............................................35
第四節 第四段落:排練號碼二十三到三十五 ..............................................40
第五節 第五段落:排練號碼三十五到五十一 ..............................................46
第六節 第六段落:排練號碼五十一到五十五 ..............................................54
第七節 第七段落:排練號碼五十五到六十七 ..............................................56
第八節 第八段落:排練號碼六十七樂曲結束 ..............................................62
第三章 《阿帕拉契之春》樂團排練與指揮技巧 ......................................64
第一節 第一段落:樂曲開頭至排練號碼六 ..............................................64
第二節 第二段落:排練號碼六至十六 ......................................................67
第三節 第三段落:排練號碼十六到二十三 ..............................................73
第四節 第四段落:排練號碼二十三到三十五 ..............................................75
第五節 第五段落:排練號碼三十五到五十一 ..............................................79
第六節 第六段落:排練號碼五十一到五十五 ..............................................84
第七節 第七段落:排練號碼五十五到六十七 ..............................................86
第八節 第八段落:排練號碼六十七樂曲結束 ..............................................88
結語…………………………………………………………………………………...90
參考書目 ..............................................................................................92
附錄 ......................................................................................................94
參考文獻 References
西文書目:
Copland, Aaron. Copland on music. N.Y.: Doubleday, 1960.
. Aaron Copland: a reader: selected writings 1923-1972. New York: Routledge, 2004.
. Copland since 1943. New York: St. Martin’s Press, 1989.
. Copland, Boston: Faber and Faber, 1984.
. The New Music 1900-1960. New York: W. W. Norton, 1968.
Green, Elizabeth A. H. The Modern Conductor 4th ed. Englewood Cliff: Prentice Hall, 1987.
Pollack, Howard. Aaron Copland: the life and work of an uncommon man. Urbana, IL : University of Illinois Press, 2000
Rudolf, Max. The Grammar of Conducting. 6th ed. New York: Schirmer Books, 1994.
Tick, Judith. Aaron Copland and His World. Princeton, N.J. : Princeton University Press, 2005.
中文書目:
馬清。《二十世紀歐美音樂風格》。台北:揚智文化,2000。
黃均人。《打開「阿帕拉契」之夜的時光膠囊:是誰讓瑪莎.葛萊姆的舞鞋踩踏著柯普蘭的神秘音符?》。台北:序曲文化,2008。
何平。《科普蘭/他寫出了美國的音樂》。台北市:世界文物,2001。
廖年賦。《管弦樂指揮研究》。台北:全音樂譜出版社,1982。
徐頌仁。《歐洲樂團之發展與配器之形成》。台北:全音樂譜出版社,1989。
張大勝。《合唱指揮研究》。台北:全音樂譜出版社,1987。
服部龍太郎。《100個偉大音樂家》。 張淑懿 譯。台北市:志文,1991。
哈羅爾德.荀伯格(Harold C. Schonberg)。《偉大作曲家的生活》。冷杉,侯珅,王迎 譯。北京:生活、讀書、新知三聯書店,2007。
李哲洋 編。《最新名曲解說全集7:管弦樂曲4》。台北:大陸書店,1999。
何真真。《全方位爵士樂理,爵士和聲樂理,第一冊》。台北:麥書國際文化事業公司,2008。

樂譜:
Copland, Aaron. Appalachian Spring Suite. Version for 13 Instruments. New York: Boosey & Hawkes, 2004.
Copland, Aaron. Appalachian Spring Suite. Version for Full Orchestra.London: Boosey & Hawkes, 1990.
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