研究生: |
洪巧如 |
---|---|
論文名稱: |
舒曼第一號鋼琴奏鳴曲之詮釋與探討 |
指導教授: |
陳漢金
Chen, Han-Jin 葉綠娜 Yeh, Lina |
學位類別: |
碩士 Master |
系所名稱: |
音樂學系 Department of Music |
論文出版年: | 2007 |
畢業學年度: | 95 |
語文別: | 中文 |
論文頁數: | 103 |
中文關鍵詞: | 舒曼 、鋼琴奏鳴曲 、佛羅雷斯坦 、尤瑟必烏斯 |
論文種類: | 學術論文 |
相關次數: | 點閱:844 下載:89 |
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《第一號鋼琴奏鳴曲》(Piano Sonata in F-sharp Minor, op. 11, 1833-35)是舒曼(Robert Schumann, 1810-1856)首次以「奏鳴曲」這種大規模曲式作曲,之前多為鋼琴套曲;而談及本曲時,多數學者亦同意在其三首鋼琴奏鳴曲中,以本曲與舒曼個人有最密切的關係。 舒曼自己也表示本曲「貫注了他許多心血」, 由此可見本曲之重要性。
本篇論文將從本曲創作背景開始談起,在大略介紹作曲家生平與本曲創作情形後,為了解影響舒曼創作本曲的時代背景,將論及當時奏鳴曲的特色與一般人對奏鳴曲的概念,並整理歸納舒曼自己的觀點以探索其創作奏鳴曲的緣由及期許,接下來進一步研究本曲標題上的共同題獻者,佛羅雷斯坦及尤瑟必烏斯與舒曼自身的關係,並歸納二者分別的音樂特性,以期能在後面章節探究此兩者與本曲的關聯。第二章將試圖由不同觀點分析本曲,期能統整歸納出本曲獨特之處。第三章詮釋部份,將試圖以之前所歸納之重點與筆者自身經驗,提出一些詮釋及練習上的看法。而譜例則採自Henle所出的原典版(Urtext),希冀能對此曲有一較客觀的認識。
一、樂譜
Schumann, Robert. Klavierwerke, Band IV. München: G. Henle Verlag.
Schumann, Robert. Complete Piano Works II. Clara Schumann Edition. Wiesbaden: Breitkopf & Härtel.
二、中文參考書目
林公欽。《鋼琴踏板使用理論與技巧分析》。台北:全音樂譜出版社,1989。
林伶美。〈舒曼升F小調鋼琴奏鳴曲,作品11之研究:影響舒曼創作之因素及作品中創作新意的探討〉。《藝術學報》,No. 64(六月號,1999):93-109。
李宜芳。〈舒曼《大衛同盟舞曲集》詮釋報告〉。國立台灣師範大學碩士論文,2001。
陳玉芸。《舒曼鋼琴代表作之研究》。台北:全音樂譜出版社,1997。
三、翻譯專書
李查‧史多著。《實用和聲學入門》(Praktischer Leitfaden der Harmonielehre)。游昌發 譯。台北:藝友出版社,1981。
Karl Ulrich Schnabel著。《現代鋼琴踏板技巧》。盧昭洋 譯。台北:全音樂譜出版社,1988。
四、西文參考書目
Abraham, Gerald. “Schumann, Robert.” in The New Grove Dictionary of Music and Musicians, 1980 edition, vol. 16, p. 832.
Cortot, Alfred. Alfred Cortot’s Studies in Musical Interpretation. Set down by Jeanne Thieffry. Translated by Robert Jaques. New York: Da Capo Press, 1989.
Daverio, John. “Schumann, Robert.” in The New Grove Dictionary of Music and Musicians, 2001 edition, vol. 22, p. 760.
Gerig, Reginald R. Famous Pianists & Their Technique. CT: Robert B. Luce, Inc., 1974.
Gillespie, John. Five Centuries of Keyboard Music. New York: Dover Publications, Inc., 1965.
Gordon, Stewart. A History of Keyboard Literature. New York: Schirmer Books, 1996.
Harwood, Gregory W. “Robert Schumann’s sonata in F-sharp minor: a study of creative process and Romantic inspiration.” Current Musicology USA vol. 29 (1980): 17-30.
Krebs, Harald. “Robert Schumann’s Metrical Rivisions.” Music Theory Spectrum, vol. 19(No.1), Spring 1997: 35-54.
Lester, Joel. “Robert Schumann and Sonata Forms.” 19th-Century Music XVIII/3 (Spring 1995): 189-210.
Macdonald, Claudia. “Schumann’s Piano Practice: Technical Mastery and Artistic Ideal.” The Journal of Musicology, Vol. XIX, Fall 2002: 527-563.
Maxwell, Carolyn & William Devan. Schumann, Solo Piano Literature. New York: Maxwell Music Evalution, 1984.
Newcomb, Anthony. “Schumann and the Marketplace: From Butterflies to Hausmusik.” from Nineteen-Century Piano Music, edited by R. Larry Todd, 258-313. New York: Schirmer, 1990.
Newman, William S. The Sonata Since Beethoven. New York: W. W. Norton & Company, 1983.
Niecks, Frederick. Robert Schumann. New York: E. P. Dutton & Co., 1978.
Ogdon, John. “The Romantic Tradition.” from Keyboard Music, edited by Denis Matthews, 209-258. London: David & Charles, 1981.
Richter, Pál. “The Schumannian déjà vu- Special Strategies in Schumann’s Construction of Large-Scale Forms and Cycles.” Studia Musicological Academiae Scientiarum Hungaricae 44/3-4 (2003): 305-320.
Rink, John. “Sonata: 3. 19th century, after Beethoven.” in The New Grove Dictionary of Music and Musicians, 2001 edition, vol. 23, p. 682.
Roesner, Linda Correll. “Schumann’s ‘Parallel’ Forms.” 19th-Century Music XIV/3 (Spring 1991): 265-278.
Schumann, Robert. On Music and Musicians. Edited by Konrad Wolff. Translated by Paul Rosenfeld. New York: Pantheon Books Inc., 1946.
. Schumann on Music. Translated and edited by Henry Pleasants. New York: Dover Publications, Inc., 1965.
Tovey, Donald Francis. A Companion to Beethoven’s Pianoforte Sonatas. London: Associated Board of the Royal Schools of Music, 1931.
Vitercik, Greg. The Early Works of Felix Mendelssohn: A Study in the Romantic Sonata Style. Philadelphia: Gordon and Breach, 1992.
Webster, James. “Sonata form.” in The New Grove Dictionary of Music and Musicians, 2001 edition, vol. 23, p. 695.