Title

自然、宗教、詩意的轉化 安東‧魏本《第二號清唱劇》之研究

Translated Titles

The Transformations of Nature, Religion, and Poetic Thinking Anton Webern: Kantate Nr. 2 ,Op. 31

Authors

羅珮尹

Key Words

魏本創作理念 ; 清唱劇 ; 序列音樂 ; 合唱管絃樂作品 ; Anton von Webern ; II Kantate ; serial music ; vocal music

PublicationName

臺灣師範大學音樂學系學位論文

Volume or Term/Year and Month of Publication

2011年

Academic Degree Category

博士

Advisor

柯芳隆

Content Language

繁體中文

Chinese Abstract

魏本(Anton von Webern, 1883-1945)是新維也納樂派三傑中,風格最為前進之作曲家。魏本每件如寶石般的精緻傑作,開創前所未有的聲響織度,在純粹抒情性的親密表情下,創造出暗示與陳述兼具,音響與寂靜共構之音樂意象。 相較於後浪漫主義的巨幅結構,魏本則探測另一種不同的世界──一個「微觀宇宙」(microcosm),而非「宏觀宇宙」(macrocosm)的世界。在這個世界裏,滿是瞬間即逝、寂靜、點描式的新穎聲響關係,以及如雋永精義般發散幽光的配器法。 魏本的音樂語言別具一格,其個性化語言,貼切地表達了他對超凡世界的不懈追求。然而他以理性音列為創作手段的同時,表達的音樂主體卻是滿溢著豐富纖細的音樂情感。音樂學者阿多諾(Theodor W. Adorno)曾對魏本的音樂提出見解:「…魏本的音樂意念絕對是抒情詩體的!在純粹地的聲響主體上,融解所有音樂的原則和所有客觀的因素。…」本文將以此出發,探討抒情為懷的魏本,主張以音列作為音高準則的理念之背後意義。 目前中外研究魏本作品分析之論著,大多關注在於技法的分析,對於其創作中感性的意味以及思想探究並不多見。本文試著不僅把音樂視為一種聲響現象,進而去考察它的結構、組織,而且貼近地把音樂視為心物交融相契後,內心聲發響應的初原地帶。 本文將以縱覽魏本書信集及代表研究典籍出發,試圖還原創作之歷程與境域。從魏本被譽為「世紀傑作」的最後一部作品:《第二號清唱劇》(Kantate Nr. 2, Op. 31)之解析,了解作曲材料的運用與音樂結構化過程。思想上歸納出魏本如何將大自然永恆的有序性轉化為音列結構、以宗教作為身處征戰時代作曲家心靈的依附、並將心靈中對大自然的感動昇華以詩意思維的角度,成就自我的音樂世界。企盼在本文探尋魏本音樂創作背後更高層的「意義」中,引領筆者在未來的創作上,有所省思與助益。

English Abstract

Webern, (1883-1945) he has the most influential in middle 20th century although be a famous one at the latest of Second Vienna School. Webern every refinement pieces has a unique position in music world, like gem, each works creating unprecedented sound, pure lyrical expressions of intimacy, creating both implied and stated, sharing both sound and silence structure in music image. Compared to the post-Romantic structure, Webern make a different world of exploration ─ a microcosm, rather than macrocosm in the world. In this world, full of fleeting, quiet, new-style in pointillism sound relationships and timeless essence, such as glow-like divergence of the orchestration. Webern's musical language is unique, accurately describes the extraordinary world of his relentless pursuit. However, as he created a rational means of sound at the same time, why can express the music of the main thin is overflowing with rich emotional music? In 1955, the year of Die Reich 2, T. Adorno, in his essay ‘Webern der Komponist’, wrote that ‘…Webern's idea is one of absolute lyricism: the dissolve all musical principles and all objective elements of musical form in the sheer sound of the subject…’ However, why Webern, advocates the idea of serialized pitch structure to caring lyrical? Current research mostly concerned about the techniques in the analysis, for the creation of emotional meaning and the ideas are rare relatively. This essay is not only treatment the sound of music as a phenomenon, but to examine its structure, organization, and come close to the music as mind and matter blend of sympathetic, the initial response to the aspirations of the original hair zone, discussion why Webern beyond the tonal languages of the music world, transformed soul from natural, and with poetical thinking to achievement a new music world. The aim of my analysis – an analysis of compositional technique – is to understand the system of rules according to which a composer writes his music. The realization of the formal and serial design in last work Kantate Nr. 2, Op. 31 then leads to questions of dodecaphony technique. My purpose is to become familiar enough with the Webern’s grammar – transformation of nature, religion, and poetical thinking–that is, his repertory of compositional possibilities – so that it is possible to say in a given case what choices a composer made.

Topic Category 人文學 > 藝術
藝術學院 > 音樂學系
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