浦朗克四組早期作品：《帽徽，1915》、《洪薩的詩作，1924-25》、《馬克思‧雅各的五首詩，1930》、《露易絲‧拉朗的三首詩，1930》之分析與詮釋

The Analysis and Interpretation of Poulenc's early four groups of works, Cocardes(1915), Poèmes de Ronsard(1924-25), Cinq Poèmes de Max Jacob(1930) and Trois Poèmes de Louise Lalanne(1930)

許舒嵐(Shu Lan Hsu)

指導教授 ： 楊艾琳

國立臺灣師範大學/藝術學院/音樂學系在職進修碩士班/碩士(2013年)

摘要

法國作曲家浦朗克(Francis Poulenc, 1899-1963)在二十世紀的藝術歌曲創作中，佔有十分重要的地位。筆者論文中所研究的浦朗克早期四組作品，分別為《帽徽》(Cocardes, 1915)、《洪薩的詩作》(Poèmes de Ronsard, 1924-25)、《馬克思‧雅各的五首詩》(Cinq Poèmes de Max Jacob, 1930)和《露易絲‧拉朗的三首詩》(Trois Poèmes de Louise Lalanne, 1930)。
除了《洪薩的詩作》採用十六世紀詩人洪薩(Pierre de Ronsard, 1524-1585)詩集外，其餘三組皆採納當代著名詩人作品，如《帽徽》為科克托(Jean Cocteau, 1889-1963)所作、《馬克思‧雅各的五首詩》為馬克思‧雅各(Max Jacob, 1876-1944)所作、《露易絲‧拉朗的三首詩》為阿波里奈爾(Guillaume Apollinaire, 1880-1918) 和瑪麗‧羅蘭桑(Marie Laurencin, 1885-1956)所作。
從這四組樂曲中，可發現浦朗克喜愛短小的曲式，且大部分無前奏。旋律方面則喜歡以個性鮮明且豐富多變的動機串起全曲，浦朗克也常使用半音音程，造成特殊的聲響。這十六首曲子轉調情況非常地頻繁，使用了許多臨時升降記號，故筆者推論他的調性只是為了方便記載樂譜而已，他的和聲完全是根據詩的氣氛而定。節奏使用則極為自由，常有變換拍號的情形，通常是為了配合詩文、展現詩文的語韻，或是使氣氛轉變。鋼琴伴奏則常常重複歌者旋律，此為浦朗克藝術歌曲作品的重要特色之一。
因為浦朗克喜用不和諧音響，以及臨時升降記號，所以欲演唱他的作品的歌者，需要擁有很好的音準。也由於他的曲子架構短小，故歌者需迅速進入歌曲情境，並且快速的轉換情緒與音色，才能正確展現浦朗克所要的樂曲氛圍。

關鍵字

浦朗克 ； 藝術歌曲 ； 帽徽 ； 科克托 ； 雅各 ； 阿波里奈爾 ； 羅蘭桑

並列摘要

French composer Poulenc(1899-1963) occupies a very important position in the art song writing in the twentieth century. Poulenc’s early four groups of works, Cocardes(1915), Poèmes de Ronsard(1924-25), Cinq Poèmes de Max Jacob(1930) and Trois Poèmes de Louise Lalanne(1930) are discussed in this thesis.
Except Poèmes de Ronsard, which was adopted from Pierre de Ronsard’s(1524-1585) poetry, the remaining three groups are adoptions of famous contemporary poets’ works. Cocardes was made by Jean Cocteau(1889-1963), Cinq Poèmes de Max Jacob was made by Max Jacob(1876-1944), and Trois Poèmes de Louise Lalanne was made by Guillaume Apollinaire(1880 -1918) and Marie Laurencin(1885-1956).
From the four groups of musical compositions, we can find that Poulenc likes short musical forms, and there is no prelude in most of them. So far as melody is concerned, Poulenc likes to use distinctive and varied motives to link the whole song. Poulenc often uses semitone intervals which produce special sound effects as well. The key signatures in these sixteen art songs were modulated frequently, and many accidentals were used. Therefore, the writer of the thesis infers that Poulenc used key signatures just for the convenience of taking down the notation. The harmony
iv
was made depends on the atmosphere of the poems. The rhythm is free and he often modulated the time signatures to harmony with the poems, present the prosody of poems, or to change the atmospheres. The piano accompaniment often repeats the melody of the song. This is one of the important features of Poulenc’s art songs.
Because Poulenc likes to use discordant sounds effects and temporary accidentals, singers who want to sing his works need to have good sense of pitch. Due to the short structures of his songs, the singers need to get into the situations of the songs quickly and change their mood and tone rapidly as well to create the atmospheres that Poulenc wants.

並列關鍵字

Poulenc ； art song ； cocardes ； cocteau ； Jacob ； Apollinaire ； Laurencin

參考文獻

Leonard, 2006.

Kahn & Averill Publishers; Bilingual edition, March 1, 2007.

Wood, Vivian Lee Poates. Poulenc’ songs: An analysis of style. Mississippi: Press of

利芳萱。《論浦朗克以薇爾慕涵詩作所譜寫十三首歌曲之分析與詮釋》。國立台灣師範大

黃亭瑤。《浦朗克夜曲及憂鬱之樂曲分析與演奏詮釋》。國立臺北教育大學，2009。