舒茲《宗教交響曲—第三集》的創作風格探討

Research on the Compositional Styles of H. Schütz’s Symphoniae Sacrae III

黃竑博(Hong-Bo Huang)

指導教授 ： 顏綠芬

國立臺北藝術大學/音樂學院學術論文/音樂學研究所/碩士(2015年)

https://doi.org/10.6835/TNUA.2015.00056

摘要

在歐洲音樂史上，17世紀是音樂風格發生巨變的重要轉捩點，其以「古代風格」(Stile antico) 與「現代風格」(Stile moderno) 等新、舊風格的對立著稱，當中又以「歌詞」與「音樂」間孰輕孰重的爭論最具代表性。古代風格強調「音樂是歌詞的主人」；現代風格則強調「歌詞是音樂的主人」，這樣對立的美學觀對當代音樂創作造成相當程度的影響；除了壁壘分明的新、舊風格外，亦有兩者融合的創作風格。隨著「人文主義」(Humanism) 精神的攀升，強調歌詞情感表達的「現代風格」獲得較高的青睞，作曲家為了彰顯歌詞的情感而慢慢脫離過去傳統的理論法則的桎梏，讓情感的表現獲得更高度的解放。

這個源起於義大利的「現代風格」也對當時德國的音樂創作造成深遠的影響，而海因里希・舒茲 (Heinrich Schütz, 1585-1672) 即為實踐現代風格的重要作曲家之一，又以其作品《宗教交響曲III》(Symphoniae Sacrae III, 1650) 具有高度的實踐代表性。本文將以舒茲《宗教交響曲III》的詞樂關係為主軸並結合當時重要的審美觀念「情意說」(Affektenlehre) 與創作原理「音樂詩學」(Musica poetica)，探討在歌詞作為音樂主導的背景下，作曲家如何運用「音型」(musical figures) 來解放歌詞的內在情感，進而彰顯「現代風格」的美學訴求。

關鍵字

17世紀音樂 ； 現代風格 ； 舒茲 ； 宗教交響曲 ； 情意說 ； 音樂詩學

並列摘要

In the history of Western music, the 17th century is one of a crucial turning points that the musical style changes considerably. It is famous for its antithesis between Stile antico and Stile Moderno, the central issue is the debate of the superiority of “text” or “music”. Stile antico emphasizes that “music is the lord of text”, while Stile moderno “text is the lord of music”. Such different aesthetics views pose a great influence on the contemporary musical compositions, and the compositional style could be well divided into three categories, namely the old, the new and fusion of the two. Nonetheless, as the spirt of Humanism prevails remarkably, the Stile Moderno which stresses the expression of the text’s emotional content, attains more and more popularity. With a view to revealing the text’s emotional expressivity, composers gradually abandon the strict and old-fashioned compositional rules, to liberate the emotion from the rigid musical regulations.

Stile Moderno, which derives from Italy, also possesses a far-reaching impact on German musical compositions. Heinrich Schütz (1585-1672) is one of the most important composers who practices Stile moderno thoroughly in Germany. Among his works, Symphoniae Sacrae III (1650) can be a representative of his practice. This article focuses on the relationships between text and music intertwined the concept of Affektenlehre and the practice of Musica Poetica, both of which play important roles in German musical development, exploring how a composer liberates the text’s inner emotion with “musical figures” to further reveal the aesthetic ideals of Stile moderno.

並列關鍵字

17th century music ； Stile moderno ； H. Sch&uuml ； tz ； Symphoniae Sacrae ； Affektenlehre ； Musica poetica

參考文獻

王美珠/陳亞群。<從Joachim Burmeister的音樂修辭學 (Musikalische Rhetorik) 理

Bartel, Dietrich. Musica Poetica: Musical-Rhetorical Figures in German Baroque

Burmeister, Joachim. Musical Poetics. Trans. Benito V. Rivera. Ed. Claude V. Palisca.

Connecticut: Yale University Press, 1993.

Bukofzer, Manfred. Music in the Baroque Era. New York: Norton, 1947.