二十世紀鋼琴觸技曲探討

「觸技曲」(Toccata)最早源於文藝復興時期，隨後逐漸演變為給鍵盤樂器演奏的曲種。巴洛克時期在巴赫手中為觸技曲與賦格的作品形式；浪漫時期以舒曼採用奏鳴曲架構所寫的《C 大調觸技曲，作品七》為代表作；到二十世紀，許多著名的觸技曲作曲家如德布西、拉威爾、浦羅柯菲夫、浦朗克、鮑溫和穆欽斯基也將更多素材放入創作中。本文共分為十章，第一章為緒論，說明此論文之研究動機和方法；第二章分為三節，包含觸技曲發展歷史、二十世紀觸技曲現況及二十世紀觸技曲特色，像是自由的曲式架構、恆動節奏的發展和恆動節奏的音色變化；第三章至第八章為本文所選六首觸技曲之作曲家風格介紹及樂曲分析；第九章為詮釋探討，以技巧、節奏特色、層次與對比三方面討論；第十章為結論。期待透過本篇論文，能使讀者對於觸技曲有更加全面的了解。

關鍵字

鋼琴觸技曲；二十世紀觸技曲

並列摘要

“Toccata” originated in Renaissence, then gradually evolved into a music genres for keyboard instruments. In Baroque period, Johann Sebastian Bach wrote lots of toccatas, which was the form of “toccata and fugue”. Later on, Robert Alexander Schumann’s (1810-1856) Toccata in C Major, which was representative work in structure of sonata form in Romantic period, even affected later composers. By the Twentieth century, well known toccata composers includes Claude Debussy (18621918), Maurice Ravel (1875-1937), Sergei Prokofiev (1891-1953), Francis Poulenc (1899-1963), York Bowen (1884-1961), and Robert Muczynski (1929-2010) were using more different materials in toccatas. The thesis is divided into ten chapters. The first chapter is introduction, which explains the research motive and method of this thesis. The second chapter is divided into three sections, including the history of toccata, the development of toccata in the Twentieth century and the characteristics of the Twentieth century toccata about free structure, highly development of moto perpetuo and different color of timbre. Chapter three to eight are the composer’s music style and analysis of six toccatas. The ninth chapter is the interpretation, discussing three dimensions: technician, characteristic of tempo, voice layers and contrasts. Summary is mentioned in the tenth chapter. I sincerely hope that through this article will bring readers a clearer understanding of toccatas.