- 學位論文
Sprechstimme風格探討--以荀貝格《月光小丑》為例
Sprechstimme - a Study of the Voice Style in Arnold Schoenberg's Pierrot Lunaire
摘要
Sprechstimme為荀貝格在《月光小丑》中使用的人聲表現風格，音樂文獻資 料對該名詞之解釋多為「介於『說話』與『唱歌』之間的人聲表現風格」，並常 將Sprechgesang（或英譯Speech-voice、Speech-song）等視之為同義詞。在本文 對Sprechstimme進行較深入廣泛的探討後，不僅發現該名詞直到晚近才為音樂 文獻所蒐錄，同時諸學者方家的解釋內容也並非全然一致，其中明顯存在觀點上 的差異。對於Sprechstimme的來龍去脈，目前國內相關研究的書籍或論文相當 少；該名詞的中文翻譯，尚未出現為大眾接受或習慣的用法；對該類型作品與風 格的認知，也顯然有待更進一步地延伸與擴展。但有趣的是，這種各方觀點不一、 至今仍處於模糊地帶的人聲風格，卻成為近代作曲家的創作利器之一。故此，本 論文以荀貝格《月光小丑》為主要研究對象，對Sprechstimme作品在創作、表 演與欣賞三方面的發展情形進行較深入的整理分析與論述。
並列摘要
The aim of this research was to study a type of vocal style named "Sprechstimme" in German, i.e.，Speech-song, which was devised by A. Schoenberg and normally intermediated between speech and song. In spite of its problematic ambiguity and all the dissimilitudes of realization, Sprechstimme was first introduced by Humperdinck in Konigskinder（1897) and later became a newly-related type of vocal enunciation in Schoenberg's atonal work Pierrot Lunaire（1912). This research was based on the studies of Schoenberg's Pierrot Lunaire, and approached through secondary research on Sprechstimme, melodrama, Expressionism, and the sort of theatrical (dramatic) declamation in vocal music. The main conclusions drawn here would be that Schoenberg expressed himself by a whole new means一 Sprechstimme so as to be free from any aesthetic justifications, and it led to a solution that the sound of human languages would be possible to combine with music in a most-original way.