音樂的詩意：十九世紀鋼琴個性小品中的文字與音樂—以舒曼與孟德爾頌為例

Abstract

十九世紀的鋼琴個性小品中，充滿著難以明確解釋的「個性」，這些「個性」就是所謂「音樂的詩意」。本論文從音樂與文字的關係來探究個性小品中的「詩意」，共分為五個章節：第一章緒論從十九世紀鋼琴個性小品興起的背景談起，包含樂器的完備以及沙龍音樂的普及等等。第二章解釋個性小品一詞的使用，歸納整理出個性小品的定義、內容、發展歷史以及外型。第三章則以舒曼(Robert Schumann, 1810-1856)的個性小品為例，分析舒曼作品標題以及文字的「個性」化，呈現出舒曼個性小品中的「人物個性」以及「音樂個性」。第四章以孟德爾頌(Felix Bartholdy Mendelssohn, 1809-1847) 的個性小品作品7以及《無言歌》曲集為例，說明《無言歌》如何將文字內化，闡釋孟德爾頌獨特的「創作個性」。另外，將孟德爾頌的《無言歌》以及作品7《7首個性小品》與舒曼的個性小品標題進行比較，檢視兩位作曲家的個性小品中，時而相同、時而迥異的文字與音樂之互動關係。第五章則為結論章，歸結以上四個章節，點出十九世紀鋼琴個性小品中無窮盡的「詩意」存在。

The piano characterpieces of nineteenth-century are full of “characters”. It’s very difficult to explain or define what the “characters”are. These “characters” are called “poeic ideas” in music. This dissertation studies the concept about “poeic ideas” in characterpieces by examining the relationship between music and words. There are five chapters devoted in this thesis. The Chapter One (Introduction) starts from the composing background of characterpieces, including the improvement of the piano and the popularity of salon music. In such situations, composers wrote more and more piano characterpieces. The focal point in Chapter Two is the using and the meaning of the word “character- pieces”, exploring the definition, content, development and appearance. Chapter Three analyzes Schumann’ characterpieces. To find out the “personality character” and “musical character” by examing the titles and words in the music. Chapter Four focuses on the characterpieces of Mendelssohn, specially the Lieder ohne Worte and characterpieces op.7. Explore how Mendelssohn melt his words into music and establish the unique “character”of composition. After that, We compare the titles and words in Mendelssohn’s characterpieces to Schumann’s, analyzing the similarity and difference in their compositions. Chapter Five, the conclusion, sums up the First four chapters, bringing out the view that there are still plenty “poetic ideas” in the characterpieces.