由樂種角度探索莫札特d小調第二十號鋼琴協奏曲K.466第一樂章之曲式特色

The Significance of Music Genre on the Form of the First Movement of Mozart's Piano Concerto No. 20 in D Minor K. 466

蘇稚蘋(Chih-Ping Su)

《關渡音樂學刊》 18期 (2013/07) Pp. 119-142

摘要

十八世紀協奏曲逐漸將重心放在獨奏協奏曲上，曲式從ritornello form（回轉曲式）循序發展為sonata form（奏鳴曲式），同時奏鳴曲式也大量在器樂曲樂種使用。但就樂種特色而言，協奏曲和其他器樂曲最大差異為獨奏樂器與樂團間之互動關係，兩者表現的主題、調性、演奏順序影響了奏鳴曲式運用，衍生許多曲式、架構上可供探討的議題。莫札特鋼琴協奏曲被公認為古典時期協奏曲典範，其第二十號鋼琴協奏曲d小調K.466第一樂章曲式運用之多樣性安排極其符合上述議題，值得深入探討。本文從協奏曲樂種角度，討論樂種與曲式相互影響，包括雙呈示部真正涵義、泛奏鳴曲式論之正當性，以及樂團與獨奏者間互動語法，建構協奏曲樂種之曲式框架。

關鍵字

協奏曲 ； 樂種 ； 雙呈示部 ； 奏鳴曲式 ； 莫札特

並列摘要

Solo concertos have become the predominant form of concertos in the 18th century, with the form changing from ritornello form to sonata form. Meanwhile, sonata form was massively adopted in music genres of instrumental music. However, when it comes to the music genre, the primary difference between the concerto and other instrumental music is in the interaction between the solo instrument and the orchestra. The theme, tonality, and the order in which the solo instrument is performed have a great impact on how the sonata form is applied, providing many valuable topics in terms of music form and structure. The sonata form in the Classical Period is best exemplified by Mozart's concertos, such as the first movement of no. 20 in d minor K. 466, which is worthy of thorough investigations and discussions. This article discusses the interaction of the genre and form, including the meanings of double exposition, the justification of sonata form, and the method about how the solo performer interacts with the orchestra. The purpose of this article is to provide a framework analysis of the music genre of concertos.

並列關鍵字

Concerto ； Genre ； Double exposition ； Sonata form ； Mozart

參考文獻

李查．史多、游昌發譯〉(1984)。曲式學。台北:藝友出版社。

林金滿(1999)。莫札特鋼琴奏鳴曲教學研究。台北:全音樂譜出版社。

吳嘉瑜(2009)。天才的牌戲─透視莫札特鋼琴奏鳴曲K. 271第一樂章雙呈示部奏鳴曲式。藝術學報。84，249-265。

吳嘉瑜(2009)。2009莫札特鋼琴協奏曲之第一樂章研究—以K. 413, 414, 415為例。藝術學報。85，337-359。

吳祖強編(1994)。曲式與作品分析。台北:世界文物。