普羅科菲夫《瞬間幻影》之分析詮釋

Abstract

普羅科菲夫 (Sergey Sergeyevich Prokofiev, 1891-1953) 為俄國極具個人色彩的一位作曲家，他遵循傳統古典曲式並融合獨特的普氏音樂語彙，使其音樂展現出強烈的原創性。1915至1917年間，普羅科菲夫因受到社會主義的影響，推崇俄國臨時政府散佈的藝術大眾化理念而產出大量淺白親民的作品；其中《瞬間幻影》(Visions Fugitives, Op. 22) 即為此時期的創作。此作品中雖各曲結構精簡，但曲中卻充分展示普氏自述的「五種風格走向」，時而專注於單一走向、時而以多元組合的面向表現，使得音樂的樣貌豐富有趣。本論文以《瞬間幻影》為研究核心，分析並歸納普氏常用的鋼琴創作技巧與風格特色，並探究「五種風格走向」於《瞬間幻影》中的體現與運用。

Sergey Sergeyevich Prokofiev (1891-1953) is a renowned Russian composer with strong personal characteristics. He inherits traditional forms but blends them into his individualized musical materials and brand new elements to create an original style. Between 1915 and 1917, Prokofiev was affected by socialism and composed a number of approachable works, which respond to the art popularization movement promoted by the Russian Provisional Government. Although the structure of each piece in Vision Fugitives is short and streamlined, Prokofiev’s“five lines”(meaning five compositional styles ) are clearly present. This thesis focuses on Vision Fugitives, investigating Prokofiev’s compositional techniques and musical styles and analyzing how Prokofiev“five lines”are treated in the present work.