固定樂思：白遼士執念的樂音實踐

Abstract

白遼士《幻想交響曲》（Symphonie Fantastique,1830）中的「固定樂思」（idée fixe）是來自於他生活中的「執念」（idée fixe）體驗，這段體驗來自於單戀的心情。然而，這條旋律早在數年前的《艾米妮》（Herminie, 1828）清唱劇中就已經出現，該劇中也有單戀的情節。 除了「執念」意義的追溯之外，本文還經由分析「固定樂思」的旋律結構、配器方式，以及各種變形的手法，探尋該旋律在音樂性上所具有的意義。這個意義，常常被當時的人與後來的觀察家，不經意地忽略了，除了舒曼以外。 本論文探討「固定樂思」形成的歷史，與完成之後的相關評論，可以認識到「固定樂思」不僅是白遼士的，也是一條盤旋在評論家們之間，揮之不去的「執念」。The “idée fixe” in Berlioz's Symphonie Fantastique (1830) arose from his personal experience of obsessive, unrequited love. The melody, however, had previously appeared in his earlier cantata, Herminie (1828). As well as tracing the history of the idée fixe, this paper intends to analyze the structure, instrumentation and transformation of this melody in order to expose the musical meaning which was largely ignored by Berlioz’s contemporaries, with the exception of Schumann, and by critics thereafter. This paper examines how the “idée fixe”came into being, both in Berlioz's life and in his works, and studies the criticism of observers after its creation.