蓋希文器樂音樂語法的風格策略－以《藍色狂想曲》、《F調鋼琴協奏曲》與《一個美國人在巴黎》為例

Gershwin's Melodic Strategies in Instrumental Music:A Stylistic Study of "Rhapsody in Blue," “Concerto in F for Piano and Orchestra," and "An American in Paris"

楊雅婷(Ya-Ting Yang)

指導教授 ： 楊建章

國立臺灣大學/文學院/音樂學研究所/碩士(2006年)

https://doi.org/10.6342/NTU.2006.01727

摘要

「暗示與實現」是邁爾（Leonard B. Meyer）用於解釋調性音樂意義的理論依據，本論文嘗試依「暗示與實現」的概念，來分析融入爵士元素後的蓋希文器樂作品–《藍色狂想曲》、《F調鋼琴協奏曲》與《一個美國人在巴黎》，以歸納蓋希文的風格策略。

本論文先從旋律的分析出發，以「暗示與實現」來解釋蓋希文樂句完整的特殊策略，並借用旋律修辭學來解釋音樂形態的弱化；再從和聲與旋律的對應關係，總結歸納蓋希文的風格策略；最後是柯普蘭《鋼琴協奏曲》與蓋希文「暗示與實現」策略的比較，以驗證蓋希文風格策略的特殊性。

從本論文的分析可知，音樂的連續方式（如樂句、樂段的構成）會因為音樂元素的不同而呈現特殊的「暗示與實現」樣態，爵士樂的融入擴充了邁爾「暗示與實現」的可能性，也為蓋希文的風格策略提供了線索。
蓋希文的旋律有以藍調音階、特殊分解和絃、四音音階、五度音程等材料、及以張力、動機、對比等句法，來構成旋律「完整」的風格策略，還有以旋律修辭學來構成旋律「弱化」的策略。在節奏上則使用「弱拍上的重音」、「由弱拍開始的樂句」來構成節奏的特殊性。雖然和聲也因為爵士樂的融入而形成特殊的音響，但蓋希文和聲在整體設計上的功用，在於製造音樂色彩、增加旋律織體，尤其在重複的旋律樂句下對應變化，以構成趣味。蓋希文和聲在音樂進行的主導性並不及旋律，而旋律除了主導蓋希文音樂的進行之外，更對於和聲的轉調有暗示的作用。論文的最後是以柯普蘭《鋼琴協奏曲》第二樂章作為比較驗證的對象，分析的結果顯示，同時代、同樣選擇爵士樂元素來創作的不同作曲家，其作品並不一定會呈現相同的風格策略，由此驗證蓋希文風格策略的特殊性。

關鍵字

暗示與實現 ； 策略 ； 風格 ； 旋律修辭學 ； 《藍色狂想曲》 ； 《F調鋼琴協奏曲》 ； 《一個美國人在巴黎》

並列摘要

“Implication-realization” is the foundation of Leonard B. Meyer’s theory of tonal music. Based on Meyer’s theory, this paper introduces George Gershwin’s musical style by analyzing his orchestral works includung “Rhapsody in Blue,” “An American in Paris,” and “Concerto in F for Piano and Orchestra.” This paper begins with the analysis of melodies, applying the “implication-realization” model and the theory of musical rhetorics to explore the strategies of Gershwin’s musical phrases. Then this paper discusses the relationship between harmony and melody. Finally, this paper intends to highlight Gershwin’s musical style by comparing strategies of “implication-realization” in Aaron Copland’s “Concerto for Piano and Orchestra” and Gershwin’s music.

This paper analyzes that different musical elements result in special style of “implication-realization” on the continuous ways of music. Music fused with jazz expands the possibilities of Meyer’s theory, and also provide clues for Gershwin’s strategies of style. To construct the “complete” strategies of style for the melody, Gershwin uses materials such as blue scales, special broken chord, Tetrachords and fifth intervals, and sequences such as tension, motive and contrast; besides, he constructs the particularity of the rhythms, Gershwin uses “upbeat emphasis” and “phrases starting from upbeat emphasis”. Although Gershwin’s harmony fusing with jazz shapes special sounds, its function on the holistic design is to produce musical color and increase melody texture, especially to form interest by making corresponding variations under repetitive melody phrases. In Gershwin’s music processing, the dominance of the harmony is inferior to that of the melody. In the end, this paper makes comparison between Gershwin’s work and Copland’s “Concerto for Piano and Orchestra mov.2”. The analysis shows that, different composers, who choose the same elements in the same period of time, do not necessarily present the same strategies of style. Therefore, the particularity of Gershwin’s strategies of style is examined.

並列關鍵字

Implication-realization ； Strategy ； Style ； Musical Poetics ； “Rhapsody in Blue” ； “Concerto in F for Piano and Orchestra” ； “An American in Paris”

參考文獻

Bartel, Dietrich. Musica Poetica: Musical-Rhetorical Figures in German Baroque Music: the University of Nebraska Press, 1997.

Bonds, Mark Evan. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge: Harvard College, 1991.

Copland, Aaron. Concerto for Piano and Orchestra: Boosey & Hawkes, 1929.

Forte, Allen. "Reflections Upon the Gershwin-Berg Connection." The Musical Quarterly 83, no. 2 (1999): 150-68.

Gershwin, George. An American in Paris. Edited by F. Campbell-Watson: New World Music Corporation, 1930.