阿爾班尼士鋼琴獨奏作品研究－以《小圓舞曲》第六首、《西班牙》、《伊貝利亞》第一冊為例

阿爾班尼士 (Isaac Albéniz, 1860-1909)，為西班牙的鋼琴家及作曲家，受到安達魯西亞音樂與佛拉門哥舞蹈等西班牙元素的影響，在音樂作品中融合當地的民族素材，並開啟西班牙的音樂發展，進而成為西班牙具有代表性的音樂家。從阿爾班尼士的鋼琴創作中，依照創作手法可分為三個時期，本文將挑選其中的《小圓舞曲》第六首 (Peqeuños Valses, op.25, no.6) 、《西班牙》(España, op.165) 與《伊貝利亞》第一冊 (Iberia, Book I)，作為本文分析與詮釋的樂曲。　　早期的作品繼承浪漫時期的舞曲風格，於1884年寫下六首《小圓舞曲》，採用當時歐洲流行的圓舞曲，其和聲與節奏單純。1890年創作的《西班牙》，由六首樂曲組成，多以西班牙舞曲為樂曲標題，顯現出不同的舞蹈風格，每首均有不同的節奏特色。1905年至1908年，阿爾班尼士寫下《伊貝利亞》，並給予副標題「印象」(Impressions)，共有十二首樂曲，描述的內容為西班牙的景象，均以當地的風景、地點與節慶等為樂曲標題，樂曲中運用多聲部織體與豐富的和聲色彩，加上複雜的節奏變化，創造出截然不同的樂曲風貌。　　全文共分成六章，第一章緒論，包含研究動機與目的、研究範圍與方法，第二章背景探討，探討十九世紀西班牙的音樂發展、西班牙的舞蹈音樂以及阿爾班尼士的生平與鋼琴音樂風格，第三章樂曲分析，將分析與探討《小圓舞曲》第六首、《西班牙》與《伊貝利亞》第一冊的創作手法，探究其音樂內涵，第四章演奏詮釋，將以上三個作品從速度、節奏、力度、踏板等角度提出個人的詮釋觀點，第五章結語，綜合以上的內容，將三個時期的作品的創作手法與詮釋做比較，整理出研究本論文的心得。

關鍵字

阿爾班尼士；西班牙音樂；《小圓舞曲》；《西班牙》；《伊貝利亞》

並列摘要

Isaac Albéniz (1860-1909) was a Spanish pianist and composer. He was greatly influenced by Andalusia music, flamenco dance and other Spanish musical elements. Albéniz’s music incorporates with idioms of folk music that he significantly contributed to the development of Spanish music and further became the foremost and renowned Spanish musician. According to Albeniz's compositional techniques, we can divide his piano music into three periods. This thesis will primarily focus on analyzing three of his piano compositions- Peqeuños Valses, op.25, no.6, España, op.165, and Iberia, Book I. 　　Albéniz’s early works inherited the dance style from the Romantic Era. In 1884, Albeniz composed six Peqeuños Valses, in which he employed the characteristics of the waltz rhythm popular in German and Austrian regions at that time. The harmony and rhythmic patterns were rather simple. In 1890, he composed España, which was constructed of six pieces, that each piece carries distinctive rhythmic traits. In addition, Albeniz titled every piece in España according to the names of traditional Spanish dances that display different dance styles. From 1905 to 1908, Albeniz composed his masterpiece, Iberia, which is a collection of 12 pieces with the subtitle- ‘impressions’. The Iberia mainly depicts Spanish local scenery, landscapes, places, and festivals that Albéniz titled each piece on the basis of them. Moreover, Albéniz’s uses of polyphonic textures, complex rhythms, along with rich harmonies all render Iberia with uniqueness. 　　This thesis consists of five chapters. Chapter one contains the research motives, scopes, and methods. Chapter two discusses the background of Spanish dance music, Spanish musical development in the nineteenth century, Albéniz’s biographic sketch and his style of piano music. Chapter three analyzes Albéniz’s compositional approaches and discusses musical connotation of Peqeuños Valses, op.25, no.6, España, op.165, and Iberia, Book I. Chapter four focuses on personal performing interpretations regarding the three piano compositions mentioned in Chapter three, and discusses personal interpretative perspectives on tempo, rhythm, dynamic, and pedal usage. Chapter five synthesizes all the information based on the above contents, compares Albéniz’s compositional approaches of these three compositions in different periods, and finally concludes with personal reflections regarding the research.