德布西鋼琴《練習曲》研究：聲響色彩之手法與演奏

A Study on Debussy's Etudes for Piano: Characteristics and Performance of Sonority

蘇逸珊(Yi-Shan Su)

指導教授 ： 魏樂富

共同指導教授 ： 王美珠(Mei-chu Wang)

國立臺北藝術大學/音樂學院學術論文/音樂學系博士班/博士(2012年)

https://doi.org/10.6835/TNUA.2012.00053

摘要

克勞德．德布西(Claude Debussy, 1862-1918)為鋼琴譜寫的《練習曲》(Études)，不僅為其生平最後一部大型鋼琴獨奏曲集，更是唯一以「練習曲」為題的創作，這與大多數作曲家將練習曲作為早期之嘗試習作十分迥異，也顯示晚期德布西對創作純粹音樂的興趣。此部作品顛覆許多鋼琴練習曲既有的創作概念與聽覺美學，一反以訓練快速手指技巧為主要目的之傳統，將豐富的聲響與音樂表達置為首要，並融合東西方各種非傳統音樂元素，遊走於調性和聲邊緣。如此的創作手法在鋼琴練習曲發展上產生了前所未聞的聲響色彩，也加深了演奏詮釋的困難度，可說是以嶄新的聽覺美學，訓練演奏者聆聽與彈奏各種「鋼琴音色」的練習曲集。

本論文針對德布西《練習曲》豐富多元的聲響色彩，分別以歷史、創作手法以及演奏詮釋等三大面向進行研究。首先從歷史的角度論述鋼琴練習曲發展概況，德布西鋼琴音樂風格以及《練習曲》的創作背景。其次，從德布西晚期風格的影響來源再接以各首練習曲創作手法的觀察分析，包括樂曲音型在傳統或德布西其他作品之間的相似或差異性，以及十二首練習曲在曲式與和聲上的創新手法，如ABA曲式運用、持續強調音、複調手法以及二度音程的聲部引導。演奏詮釋部份則著重於德布西獨特的彈奏風格，如何應用在詮釋此十二首練習曲中，包括指法、速度節拍、音樂表達、德布西獨特觸鍵與「雙踏瓣」等演奏技巧。透過收集德布西發表的評論文章、個人演奏的相關文獻與錄音、以及受德布西指導過的演奏者回憶，連結相關作品對應在此練習曲之類似處，期彌補當時德布西因病纏身無法親自演奏此曲，且首演練習曲的鋼琴家們也未曾留下任何錄音，以致沒有貼近作曲家理念之演奏記錄遺憾。論文最後結論則總結過去對德布西練習曲在演奏教學上的誤解與迷思，經過此研究後期盼未來再詮釋此作品時，能更忠實地表達作曲家的音樂美學與聲響色彩，呈現出德布西心嚮往之的「法國音色」練習曲。

關鍵字

德布西 ； 練習曲 ； 法國鋼琴音樂 ； 聲響色彩 ； 鋼琴技巧 ； 演奏詮釋 ； 觸鍵音色

並列摘要

The piano Etudes of Claude Debussy (1862-1918) was not only the last Debussy's large-scale composition for piano solo, but also the sole work under the title "Etude." It is unusual and quite different with most composers who take etudes as experiential genre and learning pieces in their early periods. Besides, it also shows Debussy's interest in writing pure music in his late period. This set has many revolutionary points on both compositional concepts and auditory aesthetics in the development of piano etudes. Departing from the traditional finger velocity training, Debussy regarded the musical sonority and nuance as his first concern. The abundant materials from both western and oriental nontraditional music push the harmonic boundaries to their limits, and all together cause not only innovative sonority but also extraordinary difficulty of performance and interpretation. Therefore, Debussy's Etudes could be considered as twelve "piano sonority" etudes for training performers' listening and interpretation abilities by Debussy's new auditory aesthetics.

For various aspects of Debussy's Etudes, this study firstly presents the general development history of the piano etudes, Debussy's piano music style, and also background of the composition. Besides, this research not only gives in-depth analysis and comparison of each etude, but also provides some essential issues of performance and interpretation, such as fingering, tempo, touch, "two pedals" skills and tone color. The discussion of compositional characteristic includes ABA structure, central or emphasized pitches, bitonal and counterpoint methods. The contents of interpretation focus on Debussy's unique playing style and his point of view on his own piano music through his letters, articles, recording, and also accounts from other musicians and scholars. It is such a pity that Debussy was too sick to perform after composing Etudes, and even those pianists who first performed etudes never left any recording of any etude. Thus, this research would like to reach the goal to provide interpretative guide of these etudes closing to Debussy's compositional ideas and performance style. The conclusion involves how people misunderstand Debussy's piano sonority in Etudes, such as the use of pedaling and music expression. Through this study, pianists and teachers should be able to avoid such wrong myths and play a marvelous "faithful interpreter" of Debussy's "French piano sonority" Etudes.

並列關鍵字

Debussy ； Etudes ； French piano music ； piano sonority ； piano technique ； interpretation

參考文獻

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Abravanel, Claude. “Symbolism and Performance.” In Debussy in Performance. New Haven, CT: Yale University Press, 1999.

Benjamin, William E. “Pour les Sixtes: An Analysis.” Journal of Music Theory 22, no. 2 (Autumn 1978): 253-290.

Boyd, Malcolm. “Domenico Scarlatti.” In The New Grove Dictionary of Music and Musicians. 2nd ed. Edited by Stanley Sadie and John Tyrrell. New York: Macmillan, 2001.