李斯特《無調性小品》探究

Research on Liszt's Bagatelle ohne Tonart

黃久玲(Chiu-Ling Huang)

《藝術研究期刊》 12期 (2016/12) Pp. 153-197

摘要

以著名的《無調性小品》（Bagatelle ohne Tohart－Bagatelle, sans tonalité）視為李斯特（Franz Liszt, 1811-1886）突破調性的大膽嘗試作品，雖然《無調性小品》是一個副標題，附在第四首魔鬼圓舞曲（The fourth Mephisto Waltz）之下，但是名稱卻廣為人知。從西洋和聲發展史上，此「無調性」是引起爭議的──意味著作曲家在開始創作此首小品時，有計劃性地規避長久以來西洋音樂所依賴的調性和聲。音樂風格、技法變化有歷史遞進的過程，在印象樂派尚未萌芽的階段，李斯特早已開始著手創新寫作技法，成為印象主義音樂之鼻祖。本文經歸納、組織及分析，將《無調性小品》分別依下列六項：一、前言；二、李斯特晚年生活；三、《無調性小品》創作背景；四、影響李斯特創作《無調性小品》風格之因素探討；五、《無調性小品》樂曲分析；六、結論等，來探究此作品。尤其是如何藉由八聲音階來突破傳統的調性和聲的寫作過程，進行重點研究，試圖從分析法的角度探討李斯特和聲語言發展、對二十世紀音樂語彙的預示，及此作品是如何的達到或未能達到無調性目標之分析。

關鍵字

李斯特 ； 無調性 ； 八聲音階 ； 魔鬼圓舞曲

並列摘要

The renowned atonal piece Bagatele ohne Tonart is widely deemed as the bold break tonal try of Franz Liszt. Although the aforementioned is addressed as a subtitle to The fourth Mephisto Waltz, this piece is widely recognized. In the western harmony development history, this atonality is controversial. It indicated that, at the time of composing the Bagatelle, the composer was purposely avoided the long tradition of reliance on the tonal harmony by the prior western musicians. Generally, the change of music style and compositional techniques follows evolutional tracks. Before the Impressionism budded, Liszt had started the innovative composing techniques and became the harbinger of the Impressionism music. This article demonstrates 6 items : 1.Introduction; 2.Liszt's late life; 3.The creative background of Bagatele ohne Tonart; 4. A probe into the factors influencing on Liszt's Bagatele ohne Tonart compositional style; 5.Musical analyses; 6. Conclusion. The research particularly focuses on the break through process of traditional harmonic tonality with octatonic scale to interpret Liszt, the harmonic language development and the prediction of twentieth century music language. It also covers the analyses on how this piece achieved, and yet.

並列關鍵字

Liszt ； atonality ； octatonic scale ； Mephisto waltz