論德布西〈水妖〉獨特之音階、調式多元運用與音化效果

德布西（Claude Debussy, 1862-1918）在作曲素材之運用，對鋼琴音樂有很大的拓展與貢獻。1913年完成的《前奏曲第二集》（Préludes II）是德布西鋼琴作品成熟期重要的創作之一，尤其第八首〈水妖〉（Ondine）巧妙的組合了各種不同型態之音階，如將三種不同起始音之八音音階（Octatonic）、二種不同類型之全音音階（Whole-Tone Scale）、自然音階（Diatonic Mode）、五聲音階（Pentatonic）、複調（Polytonality）等音階相互融合。這些音階不僅以橫向的觀念穿插在旋律中，使音樂遊移於調性與無調性之間，並縱向將這些組成音結合成非傳統概念性的和弦，相互折射產生獨特的音響。但大部分研究此作品的學者仍未跳脫調性的觀念，多以複和弦的角度來討論和聲的堆疊及旋律的構成。因此，本文最主要的目的即是跳脫一般傳統調性分析法，研究這些音階多樣化運用的方式。這些技巧被自由驅使，使聽覺與視覺呈現了令人驚豔的整合，故本文另一目的即為探討上述創作手法所產生的音響效果與視覺的聯想。綜合以上兩方面的分析，探討德布西使用不同音階形式及創作手法所產生之光影色彩。

關鍵字

〈水妖〉；八音音階；五聲音階；全音音階；音畫

並列摘要

Claude Debussy (1862-1918) made significant contributions to piano repertoire through composition or other materials. Specifically his Preludes II which was composed in 1913 is one of his notable piano works. Ondine is a creation of a combined variety of different scales; these include octatonic (applied in three different root notes), whole-tone (two types), diatonic, pentatonic and poly-tonality. These scales are not only present lineally within the melody with either tonal or atonal results, but are also incorporated vertically creating non-traditional chords with unique tone color. One purpose of this paper is to investigate the aforementioned scale techniques applied within Ondine. This paper also explores the effect of paintings on music visualization (i.e., painting by music). Based on these two methods of analyses, the connection between scales and paintings in the works by Debussy can be appreciated and acknowledged.