臺灣博碩士論文加值系統

中文提要：
阿貝爾多•希拿斯特拉為最著名的阿根廷作曲家之一。希拿斯特拉的創作可分為三個時期，而受到阿根廷民族音樂的影響分為前二個時期：第一時期為客觀的民族主義（1937-1947年），因為作曲家實際運用了許多民族音樂的素材於其樂曲中。第二時期為主觀的民族主義（1948-1953年），這時的希拿斯特拉傾向於新素材的發明（即新的節奏動機與新的旋律），試圖以象徵性或暗示性的手法來彰顯阿根廷的民族精神。
本論文除了序論之外共分為四個章節，所討論的時間範圍為一九五二年前，希拿斯特拉受阿根廷民族音樂影響所創作的鋼琴作品與其創作技巧。第一章為相關背景之探討，包括阿根廷音樂文化的發展及希拿斯特拉的生平。第二章試圖從阿根廷民族音樂的探討，進而深入研究希拿斯特拉鋼琴作品與阿根廷民族舞曲與歌謠的關聯，如馬蘭波舞曲、貓舞、森巴舞曲、德麗斯特歌曲、維達拉歌曲以及米隆卡歌曲等民族音樂。第三章則為希拿斯特拉鋼琴作品創作手法之特色，其中包括樂曲結構、曲式、調性、旋律語法以及和聲。第四章為最後的整理與全文綜合性的總結。
希拿斯特拉早期的創作生涯中，鋼琴作品佔有非常重要的地位，雖然他的鋼琴作品數量並不算多，但是其作品內容有很大的時代意義和民族特性。期盼藉由本文的研究，能夠對希拿斯特拉以及阿根廷的音樂有更深的了解與認識。

Abstract:
Alberto Ginastera is considered one of the most important composers in Argentina. His music reflects the ancient aboriginal primitivism and the nationalistic spirit of Argentine traditional music. Strong rhythm has played a significant role in his music. According to Ginastera’s own criteria, his works can be divided into three periods, but only the first two periods are related to nationalistic music. The first period is called “objective nationalism” (1937-1947), where folk elements are used directly in the works. The second period, called “subjective nationalism” (1948-1953), is characterized by sublimated musical language. Ginastera uses new rhythmic and melodic materials that symbolize Argentine music.
This thesis has four chapters besides the introduction. The time discussed in this thesis is until 1952, including Ginastera’s early piano music up to his First Piano Sonata. All these compositions have the influence of the folk idiom of Argentina. The first chapter is a discussion of historical background, including the development and growth of art music in Argentine society and Ginastera’s life as a composer. The second chapter focuses on the importance of the gaucho as a symbolic heritage of the indigenous folk music in Argentina and on how their music, such as malambo, gato, zamba, triste, vidala, and milonga were manifested in Ginastera’s piano music. The third chapter studies Ginastera’s compositional techniques and styles, including his treatment of form, phrasing, melody, harmony and tonality. This is followed by a comprehensive conclusion.
Although Ginastera was not a prolific composer for the piano, his genius and creativity is shown by his outstanding skills in manipulating folkloric materials in his piano music. Ginastera’s music has achieved widespread recognition and has also made a great contribution to the twentieth-century Latin-American music.

目 錄
序論……………………………………………………………… 2
第一章 相關背景之探討……………………………………………. 8
第一節 阿根廷音樂文化發展………………………………… 8
第二節 希拿斯特拉的生平………………………………….. 16
第二章 阿根廷民族音樂對希拿斯特拉鋼琴作品的影響……. 31
第一節　阿根廷民族音樂之探討………………………………. 31
第二節　希拿斯特拉鋼琴作品與阿根廷民族音樂之關聯……… 34
馬蘭波舞曲…………………………………………….... 34
貓舞……………………………………………...……….. 39
桑巴舞曲……………………………………………..…… 42
德麗斯特歌曲…………………………………..………… 46
維達拉歌曲……………………………………………..… 49
米隆卡歌曲………………………..……………………… 51
第三章 希拿斯特拉鋼琴作品創作特色…………………….. 56
第一節 樂句結構……………………………………………. 56
第二節 曲式…………………………………………….…… 66
第三節 調性…………………………………………………. 69
第四節 旋律語法……………………………………….….… 76
第五節 和聲……………………………………..….…….…. 90
結論……………………………………..……………………….. 96
參考書目………………………………..………………………. 100

參 考 書 目
西文書目：
Alberto Ginastera: A Catalogue of His Published Works. Boosey & Hawkes Music Publishers Limited, 1976.
Alcaraz, José Antonio. Hablar de música: Conversaciones con compositores del continente americano. Iztapalapa: Unidad Iztapalapa, Universidad Autónoma Metropolitana, (1982): 154-155.
Aretz de Ramón y Rivera, Isabel. América Latina en su Música. México: Siglo Veintiuno Editores, sa. & Unesco, 1977.
__________. El folklore musical argentino. 2nd Ed. Buenos Aires: Ricordi Americana, 1965.
Arizaga, Rodolfo and Pompeyo Camps. Historia de la Música en la Argentina. Buenos Aires: Ricordi Americana, 1990.
Béhague, Gérard. “The Hispanic world, 1918-45.” Modern Times: from World War I to the Present. London: Macmillan Press Ltd, 1993.
__________. Music in Latin America: An Introduction. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1979.
Burbank, Richard. Twentieth Century Music. New York: Fact on File Publications, 1984.
Chase, Gilbert. “Alberto Ginastera: Argentine Composer.” Musical Quarterly 43/4 (October, 1957): 439-460.
__________. “Creative Trends in Latin American Music.” Tempo 44 (Summer, 1957): 28-34.
__________. Guide to Latin American Music. Washington, D. C.: Pan American union, 1962.
__________. Introducción a la música americana contemporanea. Buenos Aires: Editorial Nova, 1958.
__________. “Preface.” America’s Music. New York: Mc. Graw-Hill Company, Inc, 1958.
__________. “Remembering Alberto Ginastera.” Latin American Music Review 6/1 (Spring/ Summer, 1985): 80-84.
Cortijo Alahija, L. La música popular y los músicos célebres de la América Latina. Barcellona: Casa Editorial Maucci, 1918.
García Morillo, Roberto. Estudios sobre música argentina. Buenos Aires: Ediciones Culturales Argentinas, 1984.
Ginastera, Alberto. “Eight from the Argentine.” Modern Music 23/4 (Fall, 1946): 226-272.
__________. “Notas sobre la música moderna argentina.” Revista musical chilena 4/31 (October-November, 1948): 21-24.
Green, Douglass. Form in Tonal Music: An Introduction to Analysis. 2nd Ed. New York: Holt, Rinhart and Winston, Inc., 1979.
Grout, D. J. and C. V. Palisca. A History of Western Music. New York: W. W. Norton, 1988.
Hanley, Mary Ann. “The Solo Piano Music of Alberto Ginastera.” The American Music Teacher 24/6 (June/ July, 1975): 17-20.
__________. “The Solo Piano Music of Alberto Ginastera.” The American Music Teacher 25/1 (September/ October, 1975): 6-9.
Knafo, Claudia. Tradition and Innovation: Balances within the Piano Sonatas of Alberto Ginastera. D.M.A. diss., Boston University, 1994.
Lester, Joel. Analytic Approaches to Twentieth-Century Music. New York: W. W. Norton & Company, 1989.
Lowens, Irving. “Contemporary Composers.” Musical Quarterly 47/4 (October, 1961): 532
Mariz, Vasco. Alberto Ginastera. Rosario: Cursos Libres de Portugues y Estudios Brasileños, 1954.
Morgan, Robert P. “The Modern Age.” Modern Times: from World War I to the Present. London: Macmillan Press Ltd, 1993.
__________. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: W. W. Norton & Company, 1991.
Persichetti, Vincent. Twentieth-Century Harmony: Creative Aspects and Practice. New York: W. W. Norton & Company, 1961.
Rossi, Nick. “Music of Argentina.” Music educators Journal 59 (January,1973): 51-53.
Salazar, Adolfo. Music in Our Time. New York: W. W. Norton and Co., Inc., 1946.
Scarabino, Guillermo. Alberto Ginastera: técnicas y estilo (1935-1950). Buenos Aires: Instituto de Investigación Musicológica “Carlos Vega”, 1996.
Schianca, Arturo C. Historia de la Música Argentina: Origen y Características. Buenos Aires: Establecimiento Gráfico Argentino, 1933.
Schwartz-Kates, Deborah. The Gauchesco Tradition as a Source of National Identity in Argentine Art Music (ca. 1890-1955). Ph. D. diss., Austin: The University of Texas, 1997.
Senillosa, Mabel. Compositores Argentinos. 2nd ed., augmented. Buenos Aires: Casa Lottermosser, 1957.
Simms, Bryan. Music of the Twentieth Century: Style and Structure. New York: Schirmer Books, 1996.
Slonimsky, Nicolas. Music of Latin America. New York: Crowell, 1945.
___________, ed. Baker’s Biographical Dictionary of Musicians. 8th ed. New York: Schirmer Books, 1992; Toronto: Maxwell Macmillan Canada, 1992; New York: Maxwell Macmillan International, 1992.
Storni, Eduardo. Ginastera. Madrid: Espasa-Calpe, S. A., 1983.
Suarez Urtubey, Pola. Alberto Ginastera. Buenos Aires: Ediciones Culturales Argentinas, 1967.
___________. “Alberto Ginastera (1916-1983).” Revista del Instituto de Investigación Musicológica Carlos Vega.” No. VII, Buenos Aires: Universidad Católica Argentina, (1986): 137-52.
___________. Alberto Ginastera: en cinco movimientos. Buenos Aires: Editorial Victor Leru, 1972.
Tan, Lillian. “An Interview with Alberto Ginastera.” American Music Teacher 33/3 (1984): 6-8.
The New Grove Dictionary of Music and Musicians (1980). S. v. “Analysis” by Ian D. Bent, S. v. “Argentina” by Mary Ann Feldman, S. v. “Ginastera, Alberto” by Gilbert Chase, S. v. “Inca Music” by Robert Stevenson.
Whittall, Arnold. Musical composition in the Twentieth Century. New York: Oxford University Press, 1999.
Wylie, Roy. Argentine Folk Elements in the Solo Piano Works of Alberto Ginastera. D.M.A. diss., Austin: The University of Texas, 1986.
Yates, Peter. Twentieth-Century Music: Its Evolution From the End of the Harmonic Era into the Present Era of Sound. London: George Allen & Unwin Ltd., 1967.
Zubieta, Sebastian. La composición en la Argentina en las décadas de 1920 y 1930: Alrededor del Grupo renovación y de la obra de Luis Gianneo y Juan Carlos Paz. Seminario de Musicología Histórica, Buenos Aires: Universidad Católica Argentina, 1997.






中文書目
吳祖強。 《曲式與作品分析》。 台北市：世界文物出版社，民國八十三年。
張己任。 《音樂•人物與觀念》。 台北市：文化叢書，民國七十四年。

樂譜
Alberto Ginastera. Milonga. Buenos Aires: Ricordi Americana S.A.E.C., 1948.
__________. Malambo. Buenos Aires: Ricordi Americana S.A.E.C., 1947.
__________. Suite de Danzas Criollas. Buenos Aires: Barry & Cia.,1956.
__________. Pequeña Danza. Buenos Aires: Barry & Cia.,1955.
__________. Sonata No.1 for Piano, Op.22. Boosey & Hawkes, Inc., 1954.
__________. Rondó sobre temas infantiles argentinos. Buenos Aires: Barry & Cia.,1951.
__________. Tres piezas para piano: I. Cuyana. II. Norteña. III. Criolla. Buenos Aires: Ricordi Americana S.A.E.C., 1941.
__________. Piezas infantiles: I. Anton Pirulero, II. Chacarerita, III. Arroz con Leche, ed. Francisco Curt Lange in Latin- American Art Music for the Piano by Twelve Contemporary Composers. New York: G. Schirmer, Inc., 1942.
__________. Tres danzas Argentinas. Buenos Aires: Ricordi Americana S.A.E.C., 1947.