臺灣博碩士論文加值系統

本文由彈性速度的歷史追溯早期（十九世紀前）的彈性速度，並涉獵於十九世紀時期發展，更為自由與誇張的晚期彈性速度。蕭邦的彈性速度風格經常被曲解為任意、自由與浪漫的，然而，透過有關於蕭邦演奏的歷史文獻研讀，對其作品和風格更深入的了解，筆者在本文中指出蕭邦彈性速度的淵源多為早期的彈性速度，爾後又藉由三位大師的錄音比較，解析自己對彈性速度用於蕭邦第四號敘事曲的看法。

This paper starts by tracing the history of tempo rubato from the earlier rubato (prior to the 19th Century), to the later rubato prevalent in the 19th Century, a freer and extravagant type. Chopin's rubato style has often been misinterpreted as arbitrary, extrememly free and romantic. However, through a survey of historical documentation on Chopin' s performance style and a thorough understanding of the music, the author points out that the origin of Chopin's rubato goes back to the earlier rubato. By also comparing three renowned masters' recordings, the author presents her views on the use of rubato in Chopin's Ballade No. 4.

演奏會曲目與輔助文件摘要....................................ⅰ
Recital Program and Paper Abstract..........................ⅱ
江如韻鋼琴演奏會錄音CD......................................ⅲ
目錄........................................................ⅴ
譜例目錄……………………………………………………………………ⅵ

前言.........................................................1
第一章、綜觀彈性速度於演奏上的使用...........................3
1-1早期與晚期的種類..........................................4
1-2蕭邦的彈性速度............................................8
第二章、主要樂段與彈性速度...................................12
第三章、錄音版本與個人詮釋之比較.............................22
結論........................................................ 36
參考文獻.....................................................38
附錄一.......................................................40
附錄二……………………………………………………………………..42
附錄三……………………………………………..………………………43

參考文獻
Eigeldinger, Jean-Jacques. Chopin: pianist and teacher as seen by his pupils. New York: University of Cambridge Press, 1986.
Hogwood, Christopher. C. P. E. Bach Studies. New York: Cambridge University Press, 2006.
Hudson, Richard. Stolen time: the history of tempo rubato. New York: Oxford University Press, 1994.
Huneker, James. Chopin: the Man and His Music. New York: Dover Publications, 1996.
Martin, Sarah. “ The Case of Compensating Rubato.” Journal of the Royal Musical Association, Vol. 127, No. 1 (2002): 95-129.
Rink, John. “Authentic Chopin: history, analysis and intuition in performance.” Chopin studies 2, edited by John Rink and Jim Samson, 214-244. New York: Cambridge University Press, 1994.
Rink, John. “Chopin in performance: Perahia’ s musical dislogue.” The Musical Times, Vol. 142, No. 1877 (winter, 2001): 9-15.
Rosenblum, Sandra P.. “The uses of rubato in music, eighteenth to twentieth centuries.” Performance practice review, v. 7, number 1 (1994): 33-53
Rowland, David. “Chopin’s tempo rubato in context.” Chopin studies 2, edited by John Rink and Jim Samson, 199-213. New York: Cambridge University Press, 1994.
Samson, Jim. Chopin: the four ballades. New York: Cambridge University Press, 1992.

譜例
Chopn, Frédéryk.“ Ballade No. 4. ” In Complete works Ⅲ, edited by Ignacy Jan Paderrwski. Warsaw: Poland, 1979.
Mozart , Wolfgang Amadeus. “Piano Sonata KV 332, mov.Ⅱ.” In Mozart Piano Sonata Vol.Ⅱ. Edited by Ernst Herttrich. München: Urtext, 2007.

有聲資料
Moravec, Ivan. The Great Pianist of the 20th Century. PG CD 456 912-1.
Richter, Svjatosla. Chopin: Cello Sonata‧Polonaise Brillante‧2 Balladen. Stereo 431 583-2.
Rubinstein, Artur. The Great Pianist of the 20th Century. PG CD 456 957-2.