論樂種、曲式與架構

On Musical Genres, Forms and Architectonics

曾瀚霈(Hannpey Tseng)

《關渡音樂學刊》 12期 (2010/06) Pp. 109-127

https://doi.org/10.29873/GMJ.201006.0005

摘要

樂種與曲式在性質與觀念上各自不同，但兩者關係密切，曲式有助於樂種特質之描述，樂種可給予曲式論述提供具體驗證所需的各時期、各類型作品。曲式的理論性特質很強，易忽略歷史背景與時代發展的現實狀況，因而有所不足甚或偏差。有些音樂如卡農、賦格和變奏曲既是曲式又被視為樂種，認知上必須釐清。曲式與樂種之間有一個值得注意的形式層級存在，就是架構。在音樂理論中建立架構的觀念是本文的主要重點，包括其意義、特性、選擇、變與不變，甚至類型概觀亦有初探。結論中，特以古典時期協奏曲第一樂章曲式的兩種說法為例，闡述樂種特質的考量對尋求正確合理的曲式觀點是應該也值得納入的。

關鍵字

樂種 ； 曲式 ； 架構

並列摘要

Musical genres and forms differentiate one another in their concepts and characteristics, but they are also interrelated. Musical forms may be helpful by describing the feature of a musical genre, and musical genres can provide musical forms the needed works from various epochs and types for concrete verifying the theories of forms. The theoretical character of musical form is strong, hence it's apt to neglect the historical background and the status of development of times, therefore inadequate or even biased. Some music like canon, fugue and variations are either musical forms or genres, they must be clarified in understanding of cognitive. Between musical form and musical genre exists a notable level of formal structure, it's the architectonics. To establish the concept of architectonics in music theory is the main focus of this article, including its meaning, characteristics, selection, change and constancy, and a preliminary study about category. In conclusion, the two statements about the form of the first movement of concerto in the classical period are especially cited as examples for interpretation, that the consideration of characteristics of musical genres for finding out the correct and rational view of a musical form is proper and worthy.

並列關鍵字

musical genres ； musical forms ； musical architectonics

參考文獻

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