摘要
交響組曲《天方夜譚》(Scheherazade, 1888) 為李姆斯基—柯薩科夫(Nikolay Andreyevich Rimsky-Korsakov, 1844-1908) 最具代表性的樂團作品，其主題使用與敘事結構的關係，以及豐沛的音響色彩變化，為該作品的兩項主要特色。 現今演出《天方夜譚》，各樂章皆會附上文字標題：「海與辛巴達的航行」(The Sea and Sinbad's Ship)、「卡蘭德王子的故事」(The Story of the Kalandar Prince)、「年輕的王子與公主」(The Young Prince and Princess)、「巴格達的慶典 — 海 — 船撞上有青銅騎士的岩石」(Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman)；事實上，由於李姆斯基—柯薩科夫在作品首演後刪去各樂章標題，故印行樂譜上並沒有任何標題。即使如此，檢視音樂的內容，仍可看出這些文字標題和音樂有某種程度上的連結。另一方面，《天方夜譚》變化多端的音響色彩，亦為表現作品框架的元素之一。 本論文針對《天方夜譚》的主題、曲式及樂團手法進行分析，進一步探討標題的流變、標題與音樂的關係，以及樂團手法在《天方夜譚》中形成的音響色彩。
並列摘要
The symphonic suite Scheherazade(1888) is the most prominent orchestral work composed by Nikolay Andreyevich Rimsky-Korsakov(1844-1908). The two key features of the work include the connection between its thematic usage and its narrative structure and the lush variation in its tone color for orchestra. In modern performances of Scheherazade, each movement is accompanied with its title: “The Sea and Sinbad’s Ship”, “The Story of the Kalandar Prince”, “The Young Prince and Princess”, and “Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman”. Rimsky-Korsakov removed all the movement titles after the work’s premiere, which is why printed and distributed scores do not include any titles. Even so, a level of connection between these written titles and the music can still be found through a review of the musical content. In addition, the tone color of Scheherazade is an element that serves to express the artistic framework of the symphonic suite. By analyzing the themes, form, and orchestral techniques in Scheherazade, this paper will explore the evolution of the titles, the connection between the titles and the music, and the tone colors created through orchestral techniques in Scheherazade.