摘要
勞律森（1943- ）為相當活躍的美國現代作曲家，他的合唱作品深受全世界合唱團喜愛。一九九三年接受波特蘭市的十字合唱團指揮布朗恩委託創作《玫瑰香頌》，最初只是想為該團寫一首安可曲，卻因當時正在閱讀詩人里爾克的《玫瑰集》，深受這部描述玫瑰之美的法文詩集感動，於是逐一寫出五首樂曲，最後集結出版為一組合唱組曲，命名為《玫瑰香頌》 (Les chansons des Roses)。 《玫瑰香頌》包括五首樂曲，第一首〈一朵獨特的玫瑰〉，讚嘆玫瑰的萬種風情；第二首〈對抗誰，玫瑰〉，對玫瑰為何長出傷人的刺提出一連串疑問；第三首〈妳的夢太圓滿〉，描寫了玫瑰迷人的體態；第四首〈完美的玫瑰〉，詩人視自己為完美玫瑰的完美朋友；第五首為〈他們會說…〉，藉由希臘神話中顧影自憐的少年隱喻玫瑰的自戀。 〈一朵獨特的玫瑰〉前後段以四聲部同節奏和聲進行描述玫瑰的豐盈，中段則利用聲部卡農形容玫瑰的綻放；〈對抗誰，玫瑰〉全曲以不斷出現的半終止和聲呈現不安定感，呼應歌詞傳達的一連串疑問；〈妳的夢太圓滿〉混和了調式與調性音樂，製造出不諧和的聲響，並以成對模仿的聲部產生回應的效果；〈完美的玫瑰〉與第二首同為組曲中較緩慢的樂曲，以單一聲部輪流呈現優美旋律，搭配變化豐富的和聲，讚嘆玫瑰就是生命的全部；〈他們會說…〉以主題變奏方式呈現如法國民歌般的歌唱線條，搭配模仿吉他彈奏而寫的鋼琴伴奏，成為本組曲中最受歡迎的一首樂曲。 本論文共分為四章，第一章是背景與緣起，針對研究動機、勞律森與里爾克的生平分為三節探討；第二章為樂曲的創作手法分析，分別以五節探討五首樂曲；第三章為音樂詮釋與合唱教學建議，分別針對五首樂曲逐項探討指揮手勢與排練技巧之建議。最後一章為本論文之結論，歸納勞律森《玫瑰香頌》這部作品之創作特色與藝術價值。本論文另有五篇附錄，附錄一為法語的基本發音規則，附錄二為整首組曲的逐字翻譯及全句翻譯，附錄三為法文歌詞逐字發音，附錄四為勞律森的作品彙整。附錄五為作曲家回覆研究者之電子郵件內容整理。
並列摘要
Morten Lauridsen, born in 1943, is a famous contemporary composer in America. His choral music has become popular all around the world. His choral cycle Les Chansons des Roses was commissioned and premiered in 1993 by Choral Cross-Ties of Portland, the composer’s hometown. At first the choir director commissioned an encore piece only; however, Lauridsen decided to write five short songs of roses after he read Rainer Maria Rilke’s French Poems Les Roses. Les Chanson des Roses is a choral setting contains five pieces written in French. First is En Une Seule Fleur which acclaims the variety of roses. Second is Contre Qui, Rose, it expresses the passion ask for why the rose has its thorn to hurt people? Third is De Ton Rêve Trop Plein which describing the charming figure of roses. Fourth is the La Rose Complète describing poet who treated himself as a perfect friend of a perfect rose. The final one is Dirait-on, by means of a Greek myth about a pathologically self-absorbed young man who implies narcissism of roses. In the En Une Seule Fleur, The homophonic texture is used to describe rose’s beauty in the first section and recapitulation; the middle section of the song is canon texture to describe rose’s blossom. In the Contre Qui, Rose, there are full of half-cadence throughout the piece which represents unanswered questions in the text. In the De Ton Rêve Trop Plein, the music language is mixed with modality and tonality and the pair imitation showing the echo effect. In the La Rose Complète, a long and lyric melody line alternates in different voice parts and the others support with various harmonies. The final Dirait-on is the “theme and variation”, which combines the melody in French chanson style and piano accompaniment imitating the chord-playing on a guitar. This piece becomes the most popular one of Les Chansons des Roses. This thesis consists of four chapters. Chapter One is the introduction, which includes the motive and intention of this research, the biography of Lauridsen, and the biography of Rilke. Chapter Two presents the musical analyses of Les Chansons des Roses. Chapter Three focuses on the musical interpretation and suggests pedagogical methods of these five songs. The last chapter is the conclusion which summarizes the creative features and aesthetical values of this choral cycle. There are five appendixes as following; the French pronunciation guide, the Chinese translations of the lyrics (word-for-word as well as poetic translations), the word-for-word pronunciations of the texts, Lauridsen’s compositional list, and finally two replied emails from the composer.
參考文獻
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Lauridsen, Morten. Dirait-on. peermusic, 1994.