蕭頌《數首舞曲，作品二十六》、夏米娜德《三首古代舞曲，作品九十五》及盧賽爾《鋼琴組曲，作品十四》選曲之研究

十九世紀晚期，法國音樂於歐洲樂壇內蓬勃發展，其中出現許多仿作早期組曲之作品。本論文藉由厄內斯特．蕭頌（Ernest Chausson, 1855- 1899）《數首舞曲，作品二十六》（Quelque Danses, Op.26, 1896）、賽西莉．夏米娜德（Cécile Chaminade, 1857- 1944）《三首古代舞曲，作品九十五》（Trois Danses Anciennes, Op. 95, 1899），以及阿爾伯特．盧賽爾（Albert Roussel, 1869-1937）《鋼琴組曲，作品十四》（Piano Suite, Op.14, 1909-1910）中的〈西西里舞曲〉及〈布瑞舞曲〉，探討十九世紀末、二十世紀初之法國樂壇美學流派、早期舞曲之演變及風格，並對於樂曲作深入的分析及詮釋建議。三組作品中，作曲家各自以不同的寫作手法，展現將十九世紀末、二十世紀初之法國音樂，如七、九、十一、十三和弦素材、平行音程的使用等寫作手法，融入了早期舞曲中。此舉不僅單單是仿古寫作，更是對於法國音樂脫胎換骨的復甦精神。期望透過本篇論文之研究，將法國音樂相差數百年的前後兩時期，藉由時代背景、舞曲流變、作曲家生平、樂曲分析及樂曲詮釋等面向，做更加深入的連結及認識。

關鍵字

厄內斯特．蕭頌；賽西莉．夏米娜德；阿爾伯特．盧賽爾；十九世紀末至二十世紀初之法國鋼琴作品；早期舞曲

並列摘要

In the late nineteenth century, French music recaptured the attention in music history. This thesis will include the aesthetic of French contemporary dance suite in the late nineteenth century and the early twentieth century, the evolution and comparison of early dance music, and do thorough analysis and interpretation on Ernest Chausson (1855-1899) Quelque Danses, Op.26; Cécile Chaminade (1857- 1944) Trois Danses Anciennes, Op. 95; and Albert Roussel (1869-1937) "Sicilienne" and " Bourrée" from Piano Suite, Op.14. In Chausson, Chaminade and Roussel’s works, the composers applied distinct compositional devices into early dance suite such as the use of seventh, nineth, eleventh, and thirteenth chords and parallel intervals. These characteristics presented a revival of French music. I hope that through the research, this thesis will help people to better understand the idiosyncrasies, such as the age background, development of the early dances, lifetimes of the composers, analyses of composition and interpretations of the compositions, between early period and contemporary French keyboard dance suite in the late nineteenth century and the early twentieth century.