- 期刊
「焦慮年代」的二種觀點：談伯恩斯坦第二號交響曲《焦慮年代》
Two Perspectives on ＂Age of Anxiety＂ - Leonard Bernstein's Symphony No. 2: Age of Anxiety
摘要
本研究將探討伯恩斯坦（Leonard Bernstein, 1918－1990）第二號交響曲《焦慮年代》（The Age of Anxiety, 1949, rev. 1965）的創作特色。透過「文化」和「宗教」二種觀點，深入探索二戰後的美國社會如何影響伯恩斯坦的創作美學，並形塑《焦慮年代》的音樂意象。第二號交響曲《焦慮年代》是對奧登詩作《焦慮年代：巴洛克牧歌》（The Age of Anxiety: A Baroque Eclogue, 1947）的回應，該詩深刻描繪了戰後美國信仰的失落。樂曲第五樂章〈假面舞會〉中標誌性的咆勃樂（Bebop）風格，和第六樂章〈尾聲〉中「信仰」與「孤寂」動機的堆疊手法，體現了伯恩斯坦的美國音樂觀點和猶太認同，並與奧登原詩中的焦慮情緒和宗教自省相互輝映。本研究將時間聚焦於奧登與伯恩斯坦《焦慮年代》的創作期間，即1944至1949 年。透過「文化」與「宗教」二個面向，本研究將討論爵士樂如何構建美國社會群像，以及伯恩斯坦如何透過音樂回應戰後「信仰的危機」，藉此呈現《焦慮年代》的歷史意義。
並列摘要
The aim of this study was to examine the significance of Leonard Bernstein's second symphonic work, The Age of Anxiety (1949, rev. 1965), focused on the influence of postwar American society on Bernstein's character in music and the images in The Age of Anxiety by investigating the perspectives of culture and religion. The Age of Anxiety was Bernstein's reaction to W. H. Auden's poem The Age of Anxiety: A Baroque Eclogue (1947), which profoundly portrayed the loss of faith in postwar America. It incorporates the characteristic syncopated bebop style in the fifth movement of the piece, The Masque, and the building of motifs ＂faith＂ and ＂loneliness＂ in the sixth movement, The Epilogue, which not only embodied Bernstein's views on American national music and his Jewish identity, but also reflected the mood of anxiousness and religious meditation in Auden's poem. This article further raises debates from the perspectives of culture and religion as to how jazz music constructs the portrait of American society, and how Bernstein responded with music to the postwar crisis of faith. This study established the historical meaning of Symphony No.2: Age of Anxiety.