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博碩士論文 etd-0820109-144222 詳細資訊
Title page for etd-0820109-144222
論文名稱
Title
德布西《G小調小提琴奏鳴曲》之演奏與技巧詮釋
The Performance and Technique Interpretation on Debussy's Violin Sonata in G Minor
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
52
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
2009-06-18
繳交日期
Date of Submission
2009-08-20
關鍵字
Keywords
小提琴奏鳴曲、印象樂派、德布西
Violin Sonata, Debussy
統計
Statistics
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The thesis/dissertation has been browsed 5752 times, has been downloaded 6 times.
中文摘要
德布西是十九世紀末法國重要的作曲家之一,由於他的創作風格與當時「印象主義」的畫風相似,因此他的音樂風格被稱為「印象樂派」。本文所要探討的《小提琴奏鳴曲》是德布西的最後一首作品,此首樂曲呈現了印象樂派的朦朧氣氛,而所需的演奏技巧,與同時期如韋尼奧夫斯基、薩拉沙泰等作曲家著重在炫技上的作品,相較之下在演奏法上有極大的不同。此奏鳴曲是藉由音色間的特殊變化表達豐富並具有意象的情感。也因此整首曲子的音樂術語出現相當頻繁,不僅清楚表示速度的變化,亦指示拉奏的位置以達到理想中的音色、或要求樂曲情緒上的表達。
本文所探討的小提琴奏鳴曲,在架構上除了前言和結論外,共包含兩部份:第一部份為德布西與印象樂派,簡述德布西的生平以及印象樂派的風格特色,並且舉例在這部作品中出現哪些印象樂派的特色。第二部份介紹此作品的創作背景以及節奏與音型的創作手法,例如德布西常用的頑固音型、同音反覆以及單複拍子的轉換等,並且依樂章分別探討如何在德布西的指示下,詮釋出他想要的情感表達,以及處理表情時較適合運用的拉奏技巧。
Abstract
Claude Debussy is one of the most important composers in France in the late nineteenth century. Since Debussy’s compositional style is similar to with the “Impressionism” in painting which prevails at that time. As a result, Debussy’s compositional style is considered as the Impressionism in music. This study provides an overall view of the Debussy’s final work, “Violin Sonata”, which displays the hazy atmosphere of Impressionism. The showing virtuostic techniques of Debussy’s violin sonata are greatly different from the works of Henry Wieniawski and Pablo de Sarasate who emphasize on showing virtuostic technique. This sonata expresses rich and imaginary feelings by particular alternation of tone color, requiring many musical terminologies that exactly indicate not only the change of the tempo but also the position of the playing so that player can achieve an ideal timbre or convey the emotion.
Except the preface and conclusion, this thesis includes two parts. The first part discusses about Debussy and Impressionism, briefly introducing his life and raising examples to show some characters of Impressionism in this work. The second part describes the historical background of his violin sonata and his compositional techniques on rhythm and musical figure such as ostinato, tautaphony, polyphony. Moreover, it also respectively explores how to express the emotion and the appropriate performance techniques for dealing with the dynamics with Debussy’s instructions on each chapter.
目次 Table of Contents
前言---------------------------------------------------------------------------------1
德布西與印象樂派
德布西的生平---------------------------------------------------------------------2
印象樂派的風格與特色---------------------------------------------------------6
G小調小提琴奏鳴曲
創作背景---------------------------------------------------------------------------9
創作手法之節奏與音型使用--------------------------------------------------11
演奏技巧與詮釋
第一樂章--------------------------------------------------------------------17
第二樂章--------------------------------------------------------------------28
第三樂章--------------------------------------------------------------------37
結語--------------------------------------------------------------------------------46
參考文獻--------------------------------------------------------------------------47
參考文獻 References
西文書目
Briscoe, R.James. Debussy in performance. New Haven, Conn. : Yale University Press, 1999
Byrnside, Ronald L. “Musical Impressionism: The Early History of the Term.” The Musical Quarterly 66, no.4 (1980): 522-37.
Cummins, Linda Debussy and the fragment Amsterdam : Rodopi, 2006
Debussy, Claude Debussy on music Ithaca, N.Y. : Cornell University Press, 1988, c1977
DeVoto, Mark Debussy and the veil of tonality : essays on his music Hillsdale, N.Y. : Pendragon Press, c2004
Dietschy, Marcel A portrait of Claude Debussy Oxford : Clarendon Press, 1994
Hepokoski, James A. “Formulaic Openings in Debussy.” 19th-Century Music 8, no.1 (Summer1984): 44-59.
Howat, Roy Debussy in proportion : a musical analysis Cambridge ; New York : Cambridge University Press, 1983
Kecskemeti, Istvan “"Claude Debussy, musicien francais", His Last Sonatas” Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, Vol. 16, No. 1/4, (1962): 117-149
Lederer, Victor. Debussy : The Quiet Revolutionary. New York : Amadeus Press, 2007
Leydon, Rebecca “Debussy's Late Style and the Devices of the Early Silent Cinema” Music Theory Spectrum, Vol. 23, No. 2, (Autumn, 2001): 217-241
Machlis, Joseph. Introduction to Contemporary Music. New York : Quenns College of the City University, 1906
Mellers, W. H. “The Final Works of Claude Debussy or Pierrot Fâché avec la Lune” Music & Letters, Vol. 20, No. 2, (Apr., 1939): 168-176
Nichols, Roger Debussy remembered Portland, Or. : Amadeus Press, 1992
Richard, S. Parks The music of Claude Debussy New Haven : Yale University Press, 1989
Sabaneev, Leonid “Claude Debussy” Music & Letters, Vol. 10, No. 1, (Jan., 1929): 1-34
Smith, Richard Langham Debussy studies Cambridge ; New York, NY, USA : Cambridge University Press, 1997
Trezise, Simon. The Cambridge Companion to Debussy. New York : Cambridge
University, 2003
Vallas, Leon. Claude Debussy: His Life and Works. New York: Dover Publications, 1973.
中文書目
許鐘榮,《現代樂派的大師》。台北:錦繡出版,2000年。
保羅.荷密斯 (Paul Holmes) 著。 《偉大作曲家群像 : 德布西》,楊敦惠譯。 台北:智庫文化出版社,1995年。
林勝儀譯,《作曲家別 名曲解說珍藏版-德布西》台北市,音樂之友社,2000年。
胡金山,《音樂大師─德布西、約翰.史特勞斯II、史特拉汶斯基、理查.史特勞斯》。台北:巨英國際,1997年。

樂譜
Debussy, Claude. Sonata for Violin and Piano in G Minor. Germany: G. Henle Verlag, 1997.
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