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博碩士論文 etd-0906104-225451 詳細資訊
Title page for etd-0906104-225451
論文名稱
Title
艾曼紐.巴哈《為職業與業餘》鍵盤曲集幻想技法之研究
A Study of Fantasy Techniques in the "Für Kenner und Liebhaber"
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
98
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
2004-06-17
繳交日期
Date of Submission
2004-09-06
關鍵字
Keywords
艾曼紐.巴哈、《為職業與業餘》鍵盤曲集
Emanual Bach, Für Kenner und Liebhaber
統計
Statistics
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The thesis/dissertation has been browsed 5731 times, has been downloaded 4522 times.
中文摘要
艾曼紐.巴哈是歐洲音樂史上最早提升德奧地區音樂價值的重要推手之一,活躍於一七四O到一七八八年。他在晚年出版了六冊《為職業與業餘》鍵盤曲集,堪稱足以並列於海頓、莫札特的作品之列,其中所包含的三十七首作品,具備一種共同的創作手法,亦即幻想曲的技法。
本文針對幻想曲之於艾曼紐的意義,以及《為職業與業餘》曲集有關幻想技法的運用做為研究的重點。除了序論和結論之外共分為三個章節,第一章為相關背景研究,藉由艾曼紐的一生刻畫出十八世紀中期柏林與漢堡迥異的音樂社會環境,以及當時音樂思想觀念對於人類情感多樣化與多變性的認可。第二章概述《為職業與業餘》曲集的出版過程,在樂曲型態的選擇上包含有服膺當代音樂觀念、大眾流行品味與作曲家特殊音樂性向此三方面的結合。然後,著眼自由幻想曲在節拍、調性和素材安排三種基本自由的討論。第三章剖析《為職業與業餘》曲集如何運用幻想技法,在幻想曲中依此技法的三個特徵來逐一檢視,在奏鳴曲中此技法發生在不同的樂句所產生的效果,甚至影響奏鳴曲的結構,並且使輪旋曲經歷由自然單純的本質到複雜音型藝術的歷程。
由多方證據顯示幻想曲是最符合艾曼紐藝術性向的曲種,他在幻想曲中自由引用他種曲式結構,也將幻想技法巧妙運用在其他的曲種中,《為職業與業餘》曲集是此類技法的最佳例證,也成為艾曼紐畢生創作的菁華。
Abstract
Carl Philipp Emanuel Bach was among one of the earliest who contributed to the musical development in German & Austria region in the history of western music. He was active between 1740 and 1788. The six volumes of the Clavier-Sonaten und Freye Fantasien nebst einigen Rondos für Kenner und Liebhaber printed later in his life are greatly admired for its artistic level is comparable with the compositions of Haydn and Mozart. The thirty-seven compositions contained in the für Kenner und Liebhaber consist one common feature, the fantasy technique.
This thesis will focus on the study of Emanuel's concept of fantasy and the application of fantasy technique in the für Kenner und Liebhaber. The writing consists of three chapters apart from the preface and the conclusion. The first chapter focuses on the related background reflected through Emanuel's life, this chapter describes the different musical environments of Berlin and Hamburg in the mid-eighteen century, and the contemporary musical thoughts of recognizing variety and differentiation of human expressions. The second chapter states the printing process of the für Kenner und Liebhaber. Emanuel's selection of music was based on the combination of three aspects: the popular taste, contemporary musical concepts and his own musicality. Later in the chapter the author will focus on three fundamental liberties of free fantasy: rhythm, tonality and material freedom. The third chapter discusses how the fantasy technique is applied in the für Kenner und Liebhaber. The author will analyze the six fantasies based on three features of the fantasy technique, the effects of the technique on the musical phrases and the influences on the structure of the sonata, and finally the processors of the technique transforming the rondo from simple to complex musical form.
Many evidences show the style of fantasy suiting Emanuel's artistic talent the best. He freely applied features of other musical form in his fantasy, and yet used the fantasy technique in other types of musical in the most settle and refine manner. The für Kenner und Liebhaber is the best example of the fantasy technique and the essence of Emanuel's musical composition.
目次 Table of Contents
序論 ····················································1

第一章 十八世紀中期北德地區音樂社會 ···················10
第一節 柏林與漢堡的音樂文化圈 ·························11
第二節 音樂思想評論 ···································17
第三節 艾曼紐鍵盤音樂的歷史價值與影響 ·················24

第二章 《為職業與業餘》曲集概述 ·······················31
第一節 《為職業與業餘》曲集創作與出版背景 ·············32
第二節 樂曲形態的選擇與使用 ···························36
第三節 自由幻想曲 ·····································45

第三章 《為職業與業餘》曲集幻想技法的探討 ·············52
第一節 幻想曲中的自由幻想技法··························53
一、樂曲結構 ············································53
二、節拍的自由 ··········································60
三、調性的自由 ··········································61
四、素材安排的自由 ······································63
第二節 奏鳴曲中的幻想技法······························66
第三節 輪旋曲中的幻想技法······························77

第四章 結論 ··········································87

參考書目 ················································94
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樂 譜

Bach, C. P. E. Die sechs Preußischen Sonaten für Klavier W.48. Ed. Rudolf Steglich. Kassel: Bärenreiter, 1988.

__________. Die sechs Württembergischen Sonaten für Klavier W.49. Ed. Rudolf Steglich. Kassel: Bärenreiter, 1987.

__________. Sechs Sonaten für Kenner und Liebhhaber W.55. Ed. Lothar Hoffmann-Erbrecht. Wiesbaden: Breitkopf & Härtel, 1985.

__________. Drei Sonaten und drei Rondos für Kenner und Liebhhaber W.56. Ed. Lothar Hoffmann-Erbrecht. Wiesbaden: Breitkopf & Härtel, 1985.

__________. Drei Sonaten und drei Rondos für Kenner und Liebhhaber W.57. Ed. Lothar Hoffmann-Erbrecht. Wiesbaden: Breitkopf & Härtel, 1985.

__________. Die sechs Sammlungen von Sonaten, freien Fantasien und Rondos für Kenner und Liebhhaber W.58. Ed. Lothar Hoffmann-Erbrecht. Wiesbaden: Breitkopf & Härtel, 1985.

__________. Die sechs Sammlungen von Sonaten, freien Fantasien und Rondos für Kenner und Liebhhaber W.59. Ed. Lothar Hoffmann-Erbrecht. Wiesbaden: Breitkopf & Härtel, 1985.

__________. Die sechs Sammlungen von Sonaten, freien Fantasien und Rondos für Kenner und Liebhhaber W.61. Ed. Lothar Hoffmann-Erbrecht. Wiesbaden: Breitkopf & Härtel, 1985.
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