舒伯特《即興曲》，作品九十分析與詮釋

Abstract

舒伯特（Franz Schubert, 1797-1828）是浪漫樂派重要的作曲家之一，他喜愛文學，將音樂與詩詞結合，譜出曲曲動聽且迷人的藝術歌曲，藝術價值極高。而在他的鋼琴作品中，除了可見到藝術歌曲裡，舒伯特對於富歌唱性的旋律線條之掌握是如此匠心獨具外，亦可見到舒伯特對調性與和聲所呈現出的色彩層次，是如此的獨樹一幟。 這套《即興曲》，作品九十創作於舒伯特生命中的最後一年，在風格上，集結了他豐富的創作技法於這套曲目當中，樂曲架構是清楚明瞭的、旋律線條是優美動人的、和聲色彩是變化多端的等等特質。這套作品共包含四首樂曲，如同「即興」這個字義上的意思，每首樂曲皆是由短小的動機或核心節奏型所組成，並由這些小元素貫穿全曲。而這些看似自然並如同即興演奏的設計，其實舒伯特在樂曲中構築精心的編排，使這些美麗的樂音成為永恆，歷久彌新。 本論文共分為五個章節，第一章緒論，分別為研究動機與目的以及研究範圍與方法。第二章為作曲家生平及風格概述，包含舒伯特生平概述與鋼琴作品風格概述。探討作曲家的家庭背景、學習歷程與工作發展，並整理出舒伯特在鋼琴作品中常使用的創作技法。第三章是樂曲分析的部分，分析與探討四首樂曲的創作技法，以及這些技法所傳遞出的音樂意涵。第四章為演奏詮釋，針對四首樂曲中的速度、旋律、節奏、和聲與調性等元素進行詮釋上的探究。第五章為結語，針對樂曲分析與演奏詮釋之章節，整理出各個音樂元素上綜合性的探討與比較，並總結出這四首即興曲的特色與研究本論文之心得。Franz Schubert (1797-1828) was one of the greatest composers of Romanticism. His passion toward literature enables him to blend music and poetry in his fascinating Lieder, which was highly appreciated with its arts value. As for his piano works, besides the humming-like melody pattern in his Lieder, the colorful and picturesque tonality and harmony were also easily notable, which makes him an exceptional composer. Impromptus, Opus. 90 was composed in the last year of Schubert’s life. It was composed with his abundant compositional techniques, including explicit structure, glamorous rhythm and diverse harmony. This work contains four pieces, which literally fits the name of the “improvisation”. Each piece consists of a small motif and a core rhythm, and the whole works incorporated this element. Although these traits seemed to be like an improvisation, it was indeed Schubert’s delicate arrangements all though his pieces, which made his works long lasting and popular even in nowadays, 200 years after his death. This thesis consists of five chapters. Chapter one contains the research motives, scopes and methods. Chapter two discusses the background and the characteristic of Schubert, including his biographic sketch, personal life and the traits of his piano works, in which we also bring about the skills often used in Schubert’s piano pieces. Chapter three analyzes Schubert’s compositional approaches and discusses musical connotation of these pieces. Chapter four focuses on personal performing interpretations regarding the four piano compositions mentioned in chapter three, and discussed personal interpretative perspectives on rhythm, tempo, harmony, and tonality. Chapter five synthesized all the information based on the above contents, compares Schubert’s compositional approaches of these four pieces, and finally concludes with personal reflections regarding the research.