李給替的鋼琴《練習曲》研究

當代匈牙利作曲家李給替 (Gyorgy Sandor Ligeti, 1923-2006)，在二十世紀音樂的發展上，以其原創性的音樂創作理念與獲獎無數的卓越成就，佔有相當重要的地位與影響。晚期從1985年開始創作的一系列鋼琴練習曲，結合多元文化與科學的影響，運用創新的技法，被譽為繼德布西、拉威爾、和巴爾托克之後，二十世紀最具影響力之鋼琴創作；近年來更被列入世界鋼琴大賽之必選曲目中。本文將先巡禮歷史上重要的鋼琴練習曲，再以李給替三冊共十八首的練習曲為特定研究範圍，從演奏者的角度出發，探討其創作手法與鋼琴語彙，內容包括樂曲架構、旋律組織、節奏特徵、力度設計、速度的運用、強奏之表現、艱難技巧之彈奏、張力的詮釋等。

關鍵字

李給替；鋼琴；練習曲

並列摘要

Gyorgy Sandor Ligeti (1923-2006), contemporary Hungarian composer, plays an important role and has made a great impact on the twentieth century world’s music scene with his original ideas of composition and extraordinary achievements. His Piano Etudes which were written during his later period from 1985, combine both multiculturalism and science, and have been regarded as the most influential works for piano after Debussy, Ravel and Bartok. They also have been included in the required repertoire of renowned piano competitions. The thesis gives a general overview of piano etude genre and its evolution throughout music history and specially focuses on the three books of Piano Etudes by Ligeti. The specific research based on the performance aspect includes formal structure, melodic organization, rhythmic character, dynamic devices, tempo, accent, technique difficulties, and the build-up towards musical climax.

並列關鍵字

Ligeti ； Piano ； Etudes

參考文獻

Arom, Simha. The Aksak Rhythm: Structural Aspects Versus Cultural Dimensions. University of Bologna: 9th International Conference on Music Perception and Cognition, 2006.

Bernard, Jonathan W. “Inaudible Structures, Audible Music: Ligeti’s Problem, and His Solution.”Music Analysis 6, 3 (October 1987): 207-236.

-------------------------. “Voice Leading as a Spatial Function in the Music of Ligeti.” Music Analysis 13, No. 2/3, Twentieth-Century Music Double Issue (July-October 1994): 227-253.

Berry, Wallace. Structural Functions In Music. New York: Dover Publishers, Inc.,

Burge, David. Twentieth Century Piano Music. New York: Schirmer Books, 1990.

國際替代計量

李給替的鋼琴《練習曲》研究

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