雌雄莫辨的夏康舞曲與帕薩喀牙舞曲──以巴洛克時期論暨自我創作

夏康舞曲和帕薩喀牙舞曲為巴洛克時期的舞曲，二種舞曲皆使用頑固音型來變奏，當今普遍以巴赫的作品作為認知的依據；然而，這套標準卻無法適用於巴洛克多數的作品，因此，筆者欲探知更多二種舞曲過去的發展。本論文透過研究二種舞曲過去的發展，並將所得運用於自身作品中。論文共分做七章，第一章「緒論」，說明研究動機，並闡述論文架構，第二章「二種舞曲於不同地域之起源」，探討二種舞曲之間的差異於西班牙、義大利與法國；第三章「級進音階與模進手法所形成的頑固音型（低音）」，探討二種舞曲共有的頑固低音；第四章「持續變奏與輪旋曲之型式（以法國大鍵琴學派而論）」，針對二種型式進行討論，並舉例作品；第五章「調性結構的差異」，以1650年劃分，探討前後不同的使用情形；第六章「《古亭畚藏落照間》之創作理念」，為筆者研究二種舞曲後所進行的創作；第七章「結論」，總論全文並提出心得。

關鍵字

夏康舞曲；帕薩喀牙舞曲；輪旋曲；頑固低音；巴洛克

並列摘要

Chaconne and passacaglia are the dances of the Baroque period. Both dances use ground-bass variation techniques. Nowadays, Bach’s works are generally used as the basis for cognition. However, this "rule" cannot be applied to the most of the works of the Baroque period. Therefore, the author wants to find out more about the past development of the two dances. This thesis mainly discusses the past development of chaconne and passacaglia and the author puts the compositional idioms into practice in his own composition. The thesis is divided into seven chapters: chapter one “research motivation” makes a description of research motives as well as the structure of the research; chapter two “the origin of two dances in different regions” discusses the differences between chaconne and passacaglia in Spain, Italy and France ; chapter three “ostinato (bass) formed by conjunct motion and sequence techniques” discusses the ostinato of the two dances; chapter four “continuous variation and rondeau” explores the development of the two forms by the French Clavecin School and gives examples of pieces; chapter five “differences in tonal structure" elaborates on the tonality of two dances before 1650 and after; chapter six “The Hakka Barns under the Setting Sun” is the application after finishing the research of the two dance music; chapter seven “conclusion” summarizes the the thesis and proposes the author's thoughts after the research.