標題: 李憶佳低音管演奏會含輔助文件聖桑《為低音管與鋼琴的奏鳴曲,作品一六八》之分析與詮釋
I-CHIA LEE BASSOON RECITAL WITH A SUPPORTING PAPER THE ANALYSIS AND INTERPRETATION OF SONATA FOR BASSOON AND PIANO, OP. 168 BY C. SAINT-SAËNS
作者: 李憶佳
I-Chia Lee
李子聲
Tzyy-Sheng Lee
音樂研究所
關鍵字: 聖桑;維也納風格;為低音管與鋼琴的奏鳴曲;法國器樂;Camille Saint-Saëns;Viennese classical style;sonata for bassoon;French instrumental music
公開日期: 2010
摘要: 聖桑(C. Saint-Saëns, 1835-1921)為十九世紀跨越至二十世紀初的法國作曲家,一生創作了大量作品,且形式多元,其中以維也納風格創作手法最為成功。 《為低音管與鋼琴的奏鳴曲,作品一六八》為聖桑一九二一年的遺世之作,此首樂曲不僅促進法國器樂的發展,亦對作品相對稀少的低音管有顯著的貢獻。此首樂曲創作的時代背景為風格紊亂、調性瀕臨瓦解的二十世紀初期,然而,聖桑的創作手法卻仍舊沿用浪漫樂派的音樂語彙,並且嚴守著調性與和聲的規範。 本文從當代的歐洲音樂背景出發,從中探究聖桑的音樂創作手法與風格,以樂曲分析為主要探討,深入了解聖桑的創作手法及理念,並藉由樂曲分析的輔助,在演奏與詮釋上更貼近聖桑所傳遞的音樂意念,進而提升音樂的內涵與掌控。
The life of the French composer Camille Saint-Saëns (1835-1921) spanned across the 19th and 20th centuries. He wrote a large variety of works, the most successful ones being those based on the Viennese classical models. His last work of 1921, the sonata for bassoon and piano op. 168, not only promoted the development of French instrumental music, but also contributed significantly to the relatively rare bassoon repertoire. Though written in the early twentieth century, a time of stylistic confusion and on the verge of tonal collapse, Saint-Saëns still used the romantic music vocabulary, and adhered to the norms of tonality and harmony. This paper first sets the style and technique of Saint-Saëns against the background of contemporary European music, then focuses on the analysis of this work to understanding Saint-Saëns’s creative idea, and to enhance the performance and interpretation of this work.
URI: http://140.113.39.130/cdrfb3/record/nctu/#GT079746519
http://hdl.handle.net/11536/45759
Appears in Collections:Thesis


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