莫札特《C大調加冕彌撒》之指揮詮釋研究

《加冕彌撒》為莫札特1779所創作的彌撒曲，是他在薩爾茲堡時期的重要作品之一。本研究從歷史、理論與分析、指揮詮釋等三大面向探討這部作品：在歷史面向上，本文歸納莫札特生平，並分析《加冕彌撒》之歷史背景，以及大時代對於本作品之影響。本研究發現，整部作品在曲式與結構上，均受到古典時期器樂曲發展之影響；而其相對短小的篇幅，亦是受限於當時薩爾茲堡縮減教會禮儀支出的影響。在理論與分析方面，側重音樂理論與作曲技法的分析，深入探究《加冕彌撒》之曲式、和聲與配器等音樂內容。本研究結果發現，莫札特在本樂曲中大量三段體形式，並且在樂章間亦存在「主題統一」之創作手法，可見作曲家對樂曲之對稱結構的重視。最後，本文以歷史脈絡與音樂分析為基礎，進一步探討本作品之指揮與詮釋。包括音色選擇與性格之間的關聯、各項記譜與演奏法之詮釋細節、歌詞經文的咬字與語韻，以及指揮左手運用、速度變化與分割拍等技術重點。期待本文能成為所有對《加冕彌撒》有興趣的研究者與指揮者之參考依據，也為目前之莫札特研究社群盡一分心力。

關鍵字

莫札特；加冕彌撒；彌撒曲；指揮詮釋

並列摘要

Coronation Mass was composed by W.A. Mozart in 1779. It is one of the most important works in his Salzburg period. This paper examines Coronation Mass with three approaches: historical, theoretical and in terms of conductor interpretation. In the historical perspective, the research results show that the entire work was influenced by the development of instrumental music in the classical era in terms of both form and structure. And its relatively short length was also due to the reduction of church liturgical expenses in Salzburg at that time. In terms of theory and analysis, the study focuses on music theory and compositional techniques. The results of this study reveal that ternary form is widely deployed in this piece. And the inter-movements "thematic unity" shows the composer's emphasis on the symmetrical structure. Finally, this paper further explores the conducting interpretation. It includes timbre and character, the details of interpretation in notation, the diction, as well as the conducting technique, including the usage of left hand, sub-division, tempo changes and so on. It is hoped that this paper will serve as a reference for all researchers and conductors interested in the Coronation Mass, as well as a contribution to the current Mozart research community.