帕格尼尼《二十四首無伴奏小提琴隨想曲，作品一》之分析及其左手技巧的傳承探討

本文以尼可洛・帕格尼尼(Nicolò Paganini, 1782-1840) 的《二十四首隨想曲》(24 Capricci per Violin Solo, Op. 1) 為研究對象，探討其中小提琴左手技巧之發展沿革與應用。經由瞭解作品之創作背景與特色，分析作品的作品體裁、旋律特色以及相關音樂元素，藉以從中探究帕格尼尼《二十四首隨想曲》中獨特的音樂語言，並進而瞭解演奏者應如何予以詮釋。全文共分為四大部分：首先，透過理解帕格尼尼音樂學習背景，以探求其人格特質與創作潛質；再者，作品與樂曲分析將針對作品之創作背景與特色，以及樂曲中曲式、旋律特色，與和聲特性等進行探討；此外，由「運指與換把位」、「雙音與和弦」以及「特殊技巧」三個面向，探究小提琴左手技巧之沿革與發展，最後，演奏法之研究則根基於樂曲所具現之特性，針對速度的掌握以及左手技巧，提出相關資料之彙整與筆者自身演奏時的想法。

關鍵字

帕格尼尼；二十四首隨想曲；左手技巧；運指；換把位；雙音；和弦；撥弦；泛音

並列摘要

This thesis aims at undertaking a research on 24 Caprices of Niccolò Paganini and its main objective is to discuss the application of left-hand techniques and its historical change and development. By understanding the background and the characters of musical works, it allows this study to analyze the genre, the melodic attributes and other elements of musical artworks. To understand how a performer interprets the unique musical language of 24 Caprices is the key element of this study as well. This study can be divided into four main sections: first, the music learning background of Niccolò Paganini facilitates a deep research into his personality and creative potential. Second, this study conducts the analysis of musical works and compositions: the background and the characters of musical works and also the style, the melodic attributes and the harmonic characters of compositions. Third, this study explores the historical change and development of left hand techniques on the basis of three crucial aspects: (1) Fingering and shifting positions (2) Double-stopping and chords (3) Special techniques. The last but not the least, this study looks into the playing techniques, such as the speed control and left hand techniques, according to the characters of musical composition itself in order to conclude relevant information and come up with ideas of the writer when playing the music.