- 學位論文
巴拉基雷夫鋼琴作品《伊斯拉美，作品18》之演奏技巧與詮釋
The Piano Performing Technique and Interpreta-tion on M. Balakirev's Islamey, Opus 18
摘要
巴拉基雷夫（Mily Balakirev, 1837-1910）以「俄國五人組」的創導人而知名。他於1866-69年之間完成了『回教風幻想曲』（副題為『東方幻想曲』)。 該曲深受高加索地區6/8拍子列茲金卡（Lezginka）舞曲及民俗樂器影響，同時，東方風味十足的旋律將民俗音樂的重音及半音階運用的十分巧妙。 在《伊斯拉美，作品18》曲中巴拉基雷夫使用減七和弦來轉接至新的樂段調性，偶爾也出現變格伊奧利安調式音響及大量的頑固音型。曲式方面是三段體加上尾奏。 《伊斯拉美，作品18》深受蕭邦及李斯特作曲風格的影響。此曲以織體相當豐厚的四度、五度及八度和弦展現演奏者的華麗炫技。這篇論文從樂句法、拍號、指法、踏板法及棒槌彈法等角度探討詮釋風格。
關鍵字
巴拉基雷夫；伊斯拉美並列摘要
Mily Balakirev（1837-1910）was the founder of "The Mighty Handful" of Rus-sia. He composed Islamey, op. 18（subtitled Orientalische Fantasie）, which was high-ly influenced by Caucasus folk instruments and dance Lezginka in meter 6/8. Moreo-ver, the oriental melodies, folk accents, and chromatics are combined cleverly. Balakirev used the diminished seventh chord for transitioning to the following tonality. In addition, modality（Hypoaeolian）occurred occasionally as well as multi-ple ostinato appearing in the composition. Islamey, op. 18 was composed in ternary form with a coda. Islamey, op. 18 was influenced by F. Chopin（1810-1849）and F. Liszt (1811-1886). Repeated notes and chords in fourth, fifths and octaves build thick textured lay-ers; this is extremely technically demanding for a pianist to manage. Islamey, op.18 was marked as a cornerstone piece in the nineteenth century piano literature. This thesis discusses interpretative issues on its phrasing, meter, fingering, pedaling and consecutive striking between hands.