德布西鋼琴作品之分析與詮釋—以《貝加馬斯克組曲》、《快樂島》及《前奏曲》第一冊之〈沉沒的教堂〉、〈遊唱詩人〉為例

德布西為二十世紀初最具代表性的法國作曲家之一，他承襲法國音樂傳統與浪漫樂派風格，並將印象主義光、影之朦朧美學注入音樂中，在經過異國文化洗禮而突破傳統和聲，亦將音樂與文學、藝術結合，被視為現代樂派之先驅。本書面報告依據日本音樂家安川加壽子針對德布西鋼琴作品所劃分之三個時期，分別選出《貝加馬斯克組曲》、《快樂島》及《前奏曲》第一冊之〈沉沒的教堂〉、〈遊唱詩人〉進行探討，第一章為研究動機與目的；第二章介紹德布西生平並以樂譜舉例說明其創作手法之運用；第三章為曲式分析及詮釋，筆者透過對樂曲的觀察和研究，詳細說明樂段之調性及動機素材，並提出個人演奏詮釋見解；第四章為結論，藉由第三章之分析歸納出三部作品之異同。

關鍵字

德布西；貝加馬斯克組曲；快樂島；沉沒的教堂；遊唱詩人

並列摘要

Claude Debussy was one of the most representative French composers in the 20th century. He inherited the tradition of French music and Romantic period style, then injected the hazy beauty of light and shadow from Impressionism into his music. After being baptized by foreign culture, he was dedicated to break traditional harmonic rules and tried to combine music with literature and art. He was therefore regarded as a pioneer of Modern Music. Based on Japanese musician Kazuko Yasukawa's classification of Debussy's piano works, This report takes "Suite Bergamasque" , "L'Isle Joyeuse" , 'La Cathedrale Engloutie' and 'Minstrels' from "Preludes" (Book I) as examples from each of the three periods for analysis. This report consists of four chapters: the first chapter reveals the motivation and purpose of this research; the second chapter introduces Debussy's biographical information, and the compositional techniques he used along with music examples; the third chapter explains the tonality, motifs and materials of each phrase in detail, and puts forward personal interpretation on the performance through the observation and research of the music; the final chapter draws a conclusion of the similarities and differences between these music works according to the analysis in Chapter 3.