匈牙利音樂素材在高大宜《無伴奏大提琴奏鳴曲作品八》的展現與演奏詮釋

二十世紀俱有代表性的匈牙利音樂家為巴爾托克及高大宜，特別在採用農民音樂素材於作品上可以說是不遺餘力。而高大宜《無伴奏大提琴奏鳴曲作品八》除了充分展現各種匈牙利民間音樂素材外，同時也將大提琴演奏技巧提升至另一個層次，成為繼巴哈《六首大提琴無伴奏組曲》之後，在所有大提琴無伴奏曲目中占有一席之地的重要作品。有別於西方古典音樂的作曲風格，高大宜透過樂器豐富的歌唱性，將匈牙利音樂的和聲變化及傳統舞蹈節奏形態表露無遺；不僅如此，在擴展大提琴各種聲響效果的過程中，相對產生出許多困難的拉奏技巧，對於演奏者在完整詮釋上可謂一大挑戰，而如此獨特的音樂風格及艱難的演奏技術都是吸引筆者進行研究及演奏的主因之一。本研究將以探討匈牙利民間音樂素材作為起點，從巴爾托克及高大宜採集的農民音樂紀錄來了解其音樂風格及精神意涵；接著，再完整分析高大宜《無伴奏大提琴奏鳴曲作品八》中呈現的匈牙利音樂元素，並且進一步探究匈牙利音樂家對民謠素材採集保有的嚴謹態度，發覺其中所表露出的思維與傳承。最後在音樂詮釋部分，筆者對於整曲所顯現出的各種匈牙利民間音樂風格，依照作曲家在譜上各樣的記譜指示，提供個人本身在演奏上的看法及觀點，並且針對實際拉奏所面臨的技巧問題作更深入的研究，期盼能給予演奏者在事前準備與詮釋手法上獲得更全面的掌握方向。

關鍵字

高大宜；無伴奏奏鳴曲；匈牙利音樂素材；演奏詮釋

並列摘要

Zoltán Kodály and Béla Viktor János Bartók are the most representative Hungarian musicians in the 20th century. They spared no effort to apply folk musical materials in their works. Zoltán Kodály's Sonata for Solo Cello, Op.8 not only demonstrates a variety of Hungarian folk music, but also upgraded his techniques of cello playing to a higher ground. This work has won a place in all unaccompanied cello tracks after Bach’s Six Unaccompanied Cello Suites. Differ from the composition style of Western classical music, the harmonic fluctuation of Hungarian music and the rhythm of traditional dance are well expressed by Kodály with the instrument’s rich and various sounds itself. Furthermore, in order to explore a range of sound effects of the cello, it incorporates more difficulties in playing techniques, which can be a challenge to the cellist for a complete performance. Such unique musical style and his highly-challenging techniques are all attractive items for the author as the study background. This study will make an approach to the Hungarian folk musical materials as a starting point to understand the style and its spiritual meanings from the peasant music records collected by Bartók and Kodály. Then, a complete analysis is focused on the Hungarian musical elements presented in Kodály's Sonata for Solo Cello, Op.8. The study will further explore the rigorous attitude of the Hungarian musicians towards the collection of folk musical materials and figure out their thoughts and inheritance revealed therein. To mention about the musical interpretation at the end, the author will provide the personal views and perspectives on various Hungarian folk music styles performed during the whole song in accordance with the composer's notation. A more in-depth study of possible technical problems will be discussed. This study is for the purpose of giving a more comprehensive direction for performers on preparation and interpretation skills.