朱里歐•卡契尼《新音樂》五首選曲之探究

A Study of Five Selections from Le Nuove Musiche by Giulio Caccini

林宜駿(Yi-Chun Lin)

指導教授 ： 林玉卿

國立臺北藝術大學/音樂學院學術論文/音樂學系碩士班聲樂組/碩士(2012年)

https://doi.org/10.6835/TNUA.2012.00028

摘要

朱里歐•卡契尼 (Giulio Caccini, 1551-1618) 是巴洛克前期的作曲家，以《新音樂》曲集及其音樂理論在西洋音樂史上流傳千古，〈阿瑪莉莉，我的愛人〉更是不朽名曲。本研究自《新音樂》中挑選五首歌曲探究，分別是〈阿瑪莉莉，我的愛人〉、〈幸運的小鳥兒〉、〈聽啊，聽啊，愛侶們〉、〈聽啊，伊烏泰佩〉、〈美麗的紫紅玫瑰〉。全文共分六章，首先探討作曲家的生平事蹟及其音樂的創新之處，並進一步闡釋卡契尼《新音樂》〈前言〉中的聲樂理論，包括他對聲樂技巧的見解以及各種歌聲的潤飾方法。之後本文介紹《新音樂》詩詞作者的簡介，以及義大利詩的基本格律規則，並在最後提出五首歌曲的詮釋。

關鍵字

朱里歐•卡契尼 ； 新音樂曲集 ； 歌聲的潤飾方法 ； 阿瑪莉莉，我的愛人

並列摘要

Giulio Caccini (1551-1618), a remarkable composer in the early Baroque period, is known in western music history for his Le Nuove Musiche as well as its preface, in which Caccini left his famous theory of voice and composition, and his “Amarilli, mia bella” from Le Nuove Musiche is also popular between singers for hundreds of years. Five pieces from Le Nuove Musiche are inquired: “Amarilli, mia bella,” “Fortunato Augellino,” “Udite, udite, amanti”, “Odi, Euterpe,” and “Belle rose porporine.” There are six chapters in this thesis. First, the background of the composer is introduced; furthermore, the theory of voice in the preface to Le Nuove Musiche is discussed and Caccini’s viewpoints on vocal techniques and vocal ornamentation are described. In addition, the background of the poets of the lyrics in Le Nuove Musiche as well as the basic metrics of Italian poetry are presented. Finally, the interpretation of the five pieces are proposed.

並列關鍵字

Giulio Caccini ； Le Nuove Musiche ； Vocal ornamentation ； Amarilli, mia bella

參考文獻

丁晏海。〈布拉姆斯Hemiola藝術歌曲研究〉。台南科大學報第28期 (2009)：73-94。

Aldrich, Putnam. Rhythm in Seventeenth-Century Italian Monody. New York: W. W. Norton & Company, 1966.

Bovicelli, Giovanni Battista. Regole, passaggi di musica. Venice, 1954.

Brunelli, Antonio. Regole ultilissime per li scolari. Florence, 1606.

Carter, Tim. “Caccini’s Amarilli, mia bella: Some Questions (and a Few Answers).” Journal of the Royal Musical Association 113, No. 2 (1988): 250-273.