秘密的傾聽者~ 舒曼的創作美學與《大衛同盟舞曲》研究

A Secret Listener ~ The Research of Schumann’s compositional aesthetics and “Davidsbündlertänze”

廖珮君(Pei-Chun Liao)

指導教授 ： 劉岠渭

國立臺北藝術大學/音樂學院/音樂學研究所碩士班/碩士(2006年)

https://doi.org/10.6835/TNUA.2006.00063

摘要

十九世紀的浪漫主義思潮影響著當代所有的藝術家，當然也包括舒曼（Robert Schumann, 1810－1856），雖然舒曼並沒有留下專門的美學論著，但其豐富的評論文章及情感流露的書信，都在在顯示了舒曼自身的美學價值觀。然而舒曼更創造了一個假想的大衛同盟社（Davidsbund），主旨是要對抗那個老是批評藝術無價值的團體非利士（Philistines），其中有兩位主要成員：一是外放熱情的Florestan，另一是沉穩內斂的Eusebius，並分別代表著舒曼內在矛盾分裂的兩種性格，然而這兩號人物不僅在舒曼的評論文章中出現，更在鋼琴作品《大衛同盟舞曲》中有精湛的性格展現，而舒曼亦在其書信中說明，這首《大衛同盟舞曲》是代表著對克拉拉極致情感的表現，於是本文將分四大部分探討：（一）舒曼的浪漫思潮根源（二）舒曼音樂的美學內涵（三）舒曼靈感泉源的中心—克拉拉（四）從《大衛同盟舞曲》探究舒曼音樂的美學觀。其中第四部份更是本文最大的重點所在，舒曼雖在曲中帶有許多情感題詞的暗示，但傳統形式亦是舒曼沒有忽略的，於是舒曼融合了長久以來所謂情感主義美學與形式主義美學這兩種極端態度，更驗證了許多舒曼的美學態度。本文便是將這首具雙重性格的鋼琴作品《大衛同盟舞曲》作分析探討，進而驗證舒曼如何將情感與形式之間的衝突做適當融合，體現舒曼自身的美學價值觀。

關鍵字

舒曼 ； 大衛同盟舞曲 ； 浪漫主義 ； Florestan ； Eusebius

並列摘要

The Romanticism trend in the Nineteenth century affected every artist in that era, including Robert Schumann (1810－1856). Although no monograph regarding aesthetics was left behind be Schumann, his many critical articles and emotional letters revealed his aesthetic values himself.
Moreover, Schumann created an imaginative group the“Davidsbund”in order to counteract the group known as the“Philistines”which always criticized that there was no value in art. In“Davidsbund”, there were two major characters. One was Florestan, who was passionate and extroverted. The other was Eusebius, who was serene and introverted. Both of them represented Schumann’s two contradictory and disunited characteristics respectively. The two characters were not only presented in Schumann’s critical articles but also represent his piano work, exquisitely in “Davidsbündlertänze”. Schumann also explained in his letters that he showed ultimate affection to Clara.
This thesis is separated in four parts:
1. The origin of Schumann’s thought of Romanticism.
2. Schumann’s aesthetic intention.
3. The center of Schumann’s inspiration—Clara.
4. Discussion about Schumann’s aesthetic principle in “Davidsbündlertänze”.
The forth part can be seen as the main point in this thesis. Schumann had many emotional mottos implied in his composition; however, the traditional form of composition wasn’t ignored. Schumann combined Emotionalism and Formalism, which were comparative. This thesis even proves Schumann’s aesthetic attitude.
This thesis discuss and analyzed the piano piece“Davidsbündlertänze”, which had a dual personality, in order to prove how Schumann did properly combine emotion and form, in addition to revealing Schumann’s aesthetic value.

並列關鍵字

Schumann ； Davidsb&uuml ； ndlert&auml ； nze ； Romanticism ； Florestan ； Eusebius

參考文獻

李宜芳，舒曼《大衛同盟舞曲》詮釋報告。國立台灣師範大學音樂所碩士論文，民90

范紋琦，探究舒曼《克萊斯勒亞納，作品十六》。國立台北藝術大學音樂所碩士論文，民94

Schumann, Robert. Herbert, May. Trans. Early Letters of Robert Schumann, London: George Bell and Sons, 1888

Plantinga, Leon. Romantic Music. New York: W. W. Norton & Company, Inc.,

Daverio, John. Robert Schumann: Herald of a New Poetic Age. New York: Oxford University Press, 1997