舒曼作品三十九《聯篇歌曲集》之詮釋報告

浪漫主義的興起造就了文學與藝術的輝煌顛峰，作曲家們將抒情詩詞與音樂作結合，成為浪漫時期的藝術歌曲。在十九世紀初期，德國藝術歌曲已有以組合詩詞形式的歌曲集出現，稱為“聯篇歌曲”（Liederkreis）。對於一個系列的組合而言，聯篇歌曲在文學情感及樂思動機上不僅必須作緊密的聯繫，在順序或安排設計上更要顧及其複雜的合成性。因此，聯篇歌曲可說是一種極具高涵義、高質量美學的藝術歌曲。本詮釋報告係探討舒曼之作品三十九《聯篇歌曲集》詩歌邏輯與調性動機，著重於歌詞內容之考證、釋義，並於節奏、旋律、和聲及織體方面作分析與統整。期望藉由本詮釋報告之研究，能彰顯不同於過往之論點，進一步對舒曼的聯篇歌曲有更深層的辨析與體現。

關鍵字

舒曼；艾辛道夫；藝術歌曲；聯篇歌曲；作品三十九

並列摘要

The German Romanticism period would emerge to accomplish the greatest literary and arts summit, defined by its greatest poet the German. In the early nineteenth-century, German Lieder had the song collection's appearance called "Song cycle" (Liederkreis). A series' collection unites a song not only in the literature motion but also in the motive to make the close relation, thus making the arrangement design an extremely complex synthesis. Therefore, this unification is one with extremely high implications, achieving the utmost aesthetics possible. This interpretation shows that the Schumann's Liederkreis, Op. 39 is a hybrid expression, extending the order of the poems in a cycle with cross reference motives, exemplified by the overarching key. Therefore, the scope of this study emphatically inspects the lyrics, rhythm, melody, and texture necessary to make a thorough analysis. The expectation research in which Schumann's Liederkreis, Op. 39 embodies differs with the past version, ultimately providing a deeper understanding of Schumann's Liederkreis manifestation.

並列關鍵字

Schumann ； Eichendorff ； Lied ； Liederkreis ； Op. 39

參考文獻

外文

Google Scholar

Bernhart, Walter; Mosley, David L.; & Wolf, Werner (2001). Word and music studies: essays on the song cycle and on defining the field. Amsterdam; Atlanta,GA: Rodopi.