摘要
＂Cantabile＂ melodies, with ornaments similar to vocal coloratura, are commonly seen in Frédéric Chopin's music. Even in his early years, Chopin was familiar with a diverse range of arias from operas. He attended operatic performances, accompanied operatic rehearsals, improvised on themes from arias, and composed variations on themes from operas. His song-like melodies contain different types of ornamentation which can be traced back to different singing practices. This paper compares some of Chopin's melodies to vocal passages from different sources to demonstrate the influence from operatic music and singing traditions. Various aspects of Chopin's melodies are classified in accordance with different types of vocal ornamentation and vocal compositional techniques, such as variations on a theme, progressions of parallel thirds and sixths as used in operatic duets, and extended melodic lines with rhythmic tension at climaxes as in Vincenzo Bellini's operas. The comparison and classification function to suggest possible ways of rendering Chopin's music through the knowledge of how contemporaneous singers, who are often the muse of his inspiration, performed and improvised those melodic aspects. Different sources that commend how his music should be rendered are studied, including the performance practice of operas in Chopin's time, notated variations from composers and singers, and written records of Chopin playing the piano.
並列摘要
帶有類似於聲樂花腔裝飾的「如歌」旋律，在蕭邦的音樂中很常見。蕭邦年輕時即已熟悉各類型歌劇詠唱調。他參與歌劇演出、擔任歌劇排練的伴奏、拿詠唱調的主題來即興，並根據出自歌劇的主題來創作變奏曲。他那些歌曲似的旋律，包含不同類型的、可追溯到不同歌唱傳統的裝飾法。這篇文章挑選若干蕭邦譜寫的旋律，來和不同的聲樂段落進行比較，以展示歌劇音樂和歌唱傳統造成的影響。蕭邦旋律的許多面向都根據不同類型的聲樂裝飾法和聲樂作曲技巧進行了分類，例如根據主題譜寫變奏、如同歌劇二重唱那樣以平行三度和六度進行，以及如同貝里尼歌劇那樣，在高潮處以帶有節奏張力的旋律線條延展向前。藉由觀察作為蕭邦靈感來源的同時代歌者，如何演唱和即興這些旋律面向，這些比較和分類將可提出演繹蕭邦音樂的可能方式。本文也研究了蕭邦時代的歌劇表演實踐、作曲家和歌者記下來的變奏，以及蕭邦鋼琴演奏的書面記錄，以提供演繹蕭邦音樂的參考。
參考文獻
延伸閱讀
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