奏鳴曲式主題再現之際的張力—解決模式：音樂分析與聽眾生理測量之研究

Tension-relaxation Patterns at the Retransition to the Recapitulation in the Sonata Form: A Study Combining Music Analysis with Listeners’ Physiological Measures

陳宗平(Chung-Ping Chen)

指導教授 ： 蔡振家

國立臺灣大學/文學院/音樂學研究所/碩士(2013年)

https://doi.org/10.6342/NTU.2013.01479

摘要

再過渡樂段 (retransition) 是奏鳴曲式中發展部末端用以返回主調，並迎向再現的一個過程。雖然已有不少理論家認同再過渡樂段於音樂聆聽中所具有的情感地位，其本質與內涵仍少有人探索。由於再過渡樂段的長度短小，以及本質上的過渡性，因而未獲得重視。在音樂分析上，再過渡樂段亦不被視為一個完整的結構單位，僅是隸屬於發展部的一小部分。

然而，再過渡樂段的重要性卻可從三個層面中突顯出來。第一，再過渡樂段被賦予了轉化發展與指示再現的功能。第二，再過渡樂段經常是有效之聽覺與認知上的標的。第三，再過渡樂段為奏鳴曲式中最重要的劇碼——與樂曲主調素材一致出現的張力解決——設置了表現的舞台。

本研究嘗試從預期的角度出發，探討主題再現之際的張力-解決模式。首先，藉由觀察再過渡樂段導入再現部的方式，將奏鳴曲式分為「連體型」與「中止型」兩大類；其次，提出幾項與音樂預期相關之假設，並統計再過渡樂段所具有之音樂特徵，從而探究其相似性與同質性；最後以聆聽行為實驗檢視聽者聆聽再過渡樂段至再現部的生理激發模式。

實驗結果顯示，再過渡樂段行進至再現部期間經常伴隨了膚電值的上升與呼吸深度的變化。膚電反應說明了再過渡樂段推移至再現部是一個營建張力並使之解決的過程；而進入再現部之後所導致的呼吸深度增加，則可以表示為再現符應了聽者的預期，繼而於其心中激發甜美的愉悅感受。

關鍵字

再過渡樂段 ； 音樂張力 ； 預期

並列摘要

“Retransition” is a transition in the end of the development of the Sonata form, used to return to the tonic, leading to the recapitulation. Although many theorists have recognized the affective role of the retransition in music listening, the essence of the retransition is still not explored. Because of its shortness in length and transitional nature, the retransition has gotten no attention for a long time. It was also not considered as a complete section, but a small unit being attached to the development.

However, the importance of retransition would be obvious if we consider three aspects: first, the retransition works as a closure of development and a sign of recapitulation; second, it is usually a significant event in listening and cognition; third, it sets the stage for what is one of the central events in the Sonata form - the release of tension that coincides with the reappearance of the opening material in the tonic.

This study aims at examining the tension-relaxation patterns at the retransition to the recapitulation with the perspective of expectation. First, the study classifies the Sonata form into two main types, “continuity” and “discontinuity”; then addresses some expectation-related hypotheses, and analyzes the similarity of the retransition by calculating its musical characters; finally, surveys the physiological states of listeners while listening to the retransition.

The result of physiological measurement shows that there are usually increases of skin conductance and respiration depth while listening to the retransition. The response of skin conductance display that the retransition is a progress of constructing musical tension; while the increase of respiration depth can be interpreted as satisfaction of listeners for the recapitulations meet their expectations.

並列關鍵字

retransition ； musical tension ； expectation

參考文獻

楊為茜、蔡振家，〈西樂敘說紅色神話─音樂基模轉換在京劇樣板戲中的功能與實踐〉，《戲劇學刊》13期 (2011)，頁 131-157。

蔡振家、陳容姍，〈渴望．解決．酬賞系統：聽眾對於終止式的情緒反應〉，《藝術學報》90期 (2012)，頁325-345。

蘇珊．麥克拉蕊 (Susan McClary)，《陰性終止》(Feminine Endings)，張馨濤譯，台北：商周，2003。

Agawu, Victor Kofi. Playing with Signs: A Semiotic Interpretation of Classic Music, Princeton: Princeton University Press, 1991.

Balkwill, L. L., and Thompson, W. F.. “A Cross-cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Uues.” Music Perception 17 (1999): 43-64.