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  • 學位論文

普契尼《蝴蝶夫人》中的「音樂借用」與文化意涵

The Musical Borrowings and Cultural Implications in Puccini's Madama Butterfly

指導教授 : 王美珠

摘要


論文摘要 本論文的研究核心普契尼《蝴蝶夫人》(Madama Butterfly)中「音樂借用」(Musical Borrowing)與文化意涵(Cultural Implication)的關聯性。截至本文完成,共發現普契尼在劇中使用十四首「音樂借用」素材,包括美國國歌一首,中國民謠兩首,以及十一首日本民謠曲調素材。普契尼仔細考量這十四首「音樂借用」素材的歷史背景與文化脈絡,他將這些多數附有歌詞的曲調輪廓,維持可立即辨識的程度,然後運用各種不同的織度變化,置入歌劇情節發展脈絡中。這些「音樂借用」的目的,是為了使這些舊曲調在新脈絡中引發聯想作用和移情作用,象徵蝴蝶夫人的藝妓身分與性格、大和民族性和文化特徵、東西方國家認同與文化衝突等議題。分析這些「音樂借用」素材的歌詞內容與樂曲結構,以及普契尼的借用手法與內容,理解借用曲調與新脈絡的互動關聯性。這些借用曲調的歌詞意涵,多半和歌劇情節的發展有直接關聯或隱喻作用,因此聆聽時若能理解這些被隱藏的民謠歌詞內容,或是部分歌詞引發的聯想,就能深刻理解此齣歌劇豐富的文化意涵。 本論文最後一章為《蝴蝶夫人》的接受與評論,聚焦於日本首位揚名國際的蝴蝶夫人三浦環的接受史觀,包括局內人和局外人的觀點,檢視1920年普契尼為何稱她為「理想的蝴蝶夫人」的意義;最後總結音樂學者對於《蝴蝶夫人》的評價。本文研究結果發現普契尼精簡有效地「音樂借用」手法,喚起強而有力的歷史記憶聯想,闡述獨特的大和文化意涵,這就是百年來《蝴蝶夫人》依舊是成功且流行的義大利歌劇的主要原因。 本論文完成呼應羅蘭•巴特的宣言:「作者已死」,將詮釋的辯證空間交給讀者,本論文僅代表作者現階段對於《蝴蝶夫人》的理解與詮釋。

並列摘要


Abstract This dissertation mainly explores the musical borrowings and cultural implications in Puccini’s Madama Butterfly. This study has found that Puccini used fourteen musical borrowings in the opera, including the national anthem of USA, “the Star-Spangled Banner”, two Chinese folk songs, and eleven Japanese folk songs. Puccini took into account the specific historical background and cultural contexts of these musical borrowings. He imbedded these melodies into the opera with a variety of textures but maintained most of the musical borrowings to a recognizable degree. The purposes of the musical borrowings are to show the associations and empathy with the art of geisha and character of Cho-Cho San as well as symbolize Japanese nationality, identity and the cultural conflicts from the East to the West. In this dissertation, I analyze the text, the devices and the structure of the musical borrowings with the focus on the content and the extent of the correlation between these borrowings and the new musical context. If a listener knows the hidden text of a quoted folk song or other metaphors in the lyrics, then he or she can understand the rich cultural implications in the opera. The last chapter of the dissertation focuses on the reception and criticism of Madama Butterfly. It contains the reception of Miura Tamaki, the first internationally renowned native Japanese Madama Butterfly as well as outsiders’ and insiders’ receptions of her. It also examines the reason why she was recognized by Puccini as an “ideal Madama Butterfly” in 1920, and the criticisms of musicologists with regard to this opera. The results of this dissertation show that Puccini had made effective use of musical borrowings to powerfully arouse the historical association of the opera with Japanese cultural implications. This is the main reason why Madama Butterfly has been one of the most popular and successful Italian operas. My dissertation reflects Barthes’s claim, “the death of the author”, which leaves the interpretation of a text to the readers (interpreters) over the composer (the interpreted). Therefore it stands for my understanding and interpretation of Madama Butterfly.

參考文獻


陳俊斌。〈「民歌」再思考:從《重返部落》談起〉,《民俗曲藝》178,2012年12月,頁207-271。
羅基敏。〈新乎?舊乎?歌劇乎?漫談廿一世紀歌劇發展〉,《PAR表藝術雜誌》,第182期(2008/02),頁94-95。
陳榮華。《高達美詮釋學:真理與方法導讀》。台北:三民書局,2011年。
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Madama Butterfly. By Giacomo Puccini. Dir. Pier Luigi Pizzi. Perf. Raffaella Angeletti and Massimiliano Pisapia. Sferistero Opera Festival Macerta. Fondazione Orchestra Regionale Delle Marche. Cond. Daniele Callegari. Unitel Classica.2010.

被引用紀錄


陳安妮(2016)。賈柯莫•普契尼歌劇《蝴蝶夫人》中秋秋桑的四首詠唱調之詮釋〔碩士論文,國立臺北藝術大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0014-0909201622163400

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