《士兵的故事》為二十世紀的巨擘伊果・史特拉溫斯基(Igor Stravinsky, 1882-1971)首部小型精緻舞台作品,整齣表演讓音樂、戲劇、舞蹈皆獲得充分的發揮,且齊聚三門藝術於舞台上一起演出,媲美為古典樂「跨界」合作的濫觴經典。 本論文以史特拉溫斯基的《士兵的故事》為核心,共分四個章節,第一章首先介紹作曲家生平;第二章探討作品的創作背景、樂器編制與故事內容;第三章討論音樂分析並分兩部分,第一部分:介紹史特拉溫斯基的好友畢卡索(Pablo Picasso,1881-1973)繪畫的立體主義思潮,接著類比兩位大師在聽覺與視覺藝術領域的創作理念與手法,進而剖析出史特拉溫斯基獨特的音樂語彙與音塊形式(Block Form)等創作手法。第二部分:以音塊形式的概念作樂曲分析;第四章集合上述論點、排練與指揮演出經歷,進而提出指揮詮釋,最後總結研究者對《士兵的故事》的論述與看法,希望此研究幫助有興趣的讀者拉近當代與二十世紀的距離。
"The Soldier's Tale" is the first smaller scale theatrical work created by Igor Stravinsky, one of the most influential maestros from the 20th century. This work incorporates the best of music, drama, and dance, it unites the unlimited possibility of classical music integrating with other forms of arts. This thesis will focus on "The Soldier's Tale" and discuss in four aspects: a brief introduction of Stravinsky's life, the background of the work, the comparison of creative process between Picasso and Stravinsky, and the musical analysis based on Stravinsky's Block Form. According to these findings, the researcher discussed her conducting interpretation.