從《園中之鶯》探討梅湘的鳥鳴風格

奧利維耶˙梅湘 (Olivier Messiaen, 1908-1992) 是二十世紀西洋音樂史中具有深遠影響且貢獻甚鉅的法國作曲家。在梅湘的作品裡，色彩、節奏、宗教與鳥歌是幾個頗為顯著的特點，這同時也是他在許多演說與論述中經常提及的內容。梅湘的創作如同他教導學生時所說的：觀察並了解身邊事物，所有皆可以成為音樂內容一樣的豐富。自1941年起逐漸出現在作品中的鳥歌，是梅湘自幼以來的喜好。在梅湘鳥鳴風格的潛心鑽研期中，更有長達六年的時間僅創作以鳥歌為主要素材的樂曲，《鳥類誌》(Catalogue d’oiseaux, 1953-1956) 即是此時的作品，同時也是梅湘鳥歌作品中最為人熟知的代表作。《園中之鶯》(La Fauvette des jardins, 1970) 創作於1970年，是一首長達三十餘分鐘的樂曲，曲中的主角園中之鶯共十二次的鳥歌樂段佔據極大的篇幅，這在梅湘任何鳥歌作品中都是不曾見到的。自《園中之鶯》成形的園中之鶯鳥歌著色方式，與其他種類的鳥歌相比之下有顯著的差別，這鳥歌樣式自此之後即不時地出現於各種不同類型的作品中，在管絃樂作品裡經常是以鋼琴來演奏園中之鶯的歌唱，鋼琴與園中之鶯幾乎到了劃上等號的地步。鳥歌這一獨特的素材，在梅湘完全不同於前人的使用下呈現出音樂史上絕無僅有的現象，也由於人類對鳥兒歌唱的不瞭解，而在演奏與聆聽兩方面同時產生了不同的困難。本論文先對梅湘獨特的音樂語言與鳥歌寫作的演進作概略的說明，之後依《節奏、色彩與鳥類學的論述》(Traité de Rythme, de Couleur, et d’Ornithologie, 1949-1992) 一書中梅湘對鳥歌的敘述，觀察《園中之鶯》曲中十八種鳥歌的寫作方式，並且與《鳥類誌》中同種鳥歌進行比較與對照。另外在自然景觀的描繪上，探索梅湘寫作的思考模式以及與其音樂語言中的關聯性。梅湘寫作鳥歌的比例隨著時間而愈發顯得重要，鳥歌也成為梅湘音樂語言中最特別的現象，本論文藉由《園中之鶯》一曲的研究，揭示梅湘鳥鳴風格的獨創性與在音樂史的定位。

關鍵字

梅湘；園中之鶯；鳥歌；法國鋼琴作品；二十世紀鋼琴作品

並列摘要

Olivier Messiaen (1908-1992) was a French composer of far-reaching influence and significant contribution to 20th century Western Music. In his work, color, rhythm, religion and “birdsong” became notable characteristics of his compositions and were of particular emphases in his lectures. He often taught his students how to observe and understand the things around them because one’s surroundings could always be potential content or inspiration for music. Listening to birds as a hobby was a big part of Messiaen’s life ever since childhood. In 1941, he began writing these “bird songs” into his compositions. In his Exploration Period, he even dedicated six years to studying and composing primarily bird songs. His most well-known representative work, Catalogue d’oiseaux, was written during this time. La Fauvette des jardins was composed in 1970 in which the main character, the fauvette des jardins, is the most prominent bird, with Messiaen dedicating a large portion of the composition to it. The coloring method of the fauvette des jardins formed in the La Fauvette des jardins has remarkable difference compared with other types of birdsongs. Since then, this form of birdsong appeared in his later works from time to time. The singing of the fauvette des jardins is often performed by piano solo at a very high frequency, therefore the piano has become equivalent with the voice of the fauvette des jardins, even in orchestral works. Birdsong, the only compositional element of its kind, is unique to Messiaen and his original use of it contributed a phenomenon in music history. In addition, due to the lack of understanding of how birds sing in the world, multi-faceted challenges have occurred in both the performance and listening of these works. First, this thesis will explain Messiaen’s unique musical language and the evolution of birdsong composition. Second, it will observe the 18 birdsongs in La Fauvette des jardins according to Messiaen’s narratives on birdsongs in Traité de Rythme, de couleur, et d’Ornithologie and it will compare them with the birdsongs in Catalogue d’oiseaux. Third, it will explore the correlation between depicting natural landscapes and composing musical works. Since the proportion of birdsongs in Messiaens’ works became more abundant and important as time went on, it is safe to say that the birdsong became the most special phenomenon in Messiaen’s musical repertoire. Lastly, this study will talk about the distinctive creativity and position in musical history the birdsong style has presented, through its extensive research on La Fauvette des jardins.

並列關鍵字

Messiaen, La Fauvette des jardins, birdsong, French piano music, Twentieth-century piano music

參考文獻

Bell, Carla Huston. Olivier Messiaen. Boston, MA : Twayne Publishers, 1984.

Guiberteau, Francine. Il était une foi Olivier Messiaen. n.p. : Calamus, 2008.

Halbreich, Harry. Olivier Messiaen. Paris : Fayard Fondation SACEM, 1980.

________. L’œuvre d’Olivier Messiaen. n.p. : Fayard, 2004.

Hill, Peter. ed., The Messiaen Companion. Portland, OR : Amadeus Press, 1995.

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從《園中之鶯》探討梅湘的鳥鳴風格

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