臺灣博碩士論文加值系統

法郎西斯‧浦浪克(Francis Jean Marcel Poulenc, 1899-1963) 為二十世紀最重要之鋼琴作曲家之一，他的音樂風格簡約不失幽默、優雅又浪漫，具獨特風格。筆者以創作於1934年創作的《兩首間奏曲》(Deux intermezzi)，和1943年創作《降A大調間奏曲》(Intermezzo in A-flat Major)做研究探討。
本論文分為六章，第一章緒論包含研究動機與目的，及研究方法與範圍；第二章為浦浪克的生平，從三個分期探究浦浪克創作風格的形成、轉變及影響；第三章為浦浪克的鋼琴作品與分期特色，並呈現其鋼琴作品的主要技法，浦浪克一生作有鋼琴奏獨奏曲三十四首，創作過程三個時期：早期作品，大多受薩悌、法國六人組及斯特拉汶斯基的影響，曲調簡潔風格獨特；中期作品受到蕭邦、舒曼的影響，運用許多浪漫時期之創作手法；晚期鋼琴作品內斂細膩，數量較少，難度較難。
第四章探討間奏曲的發展，以及三首間奏曲的樂曲分析；《C大調間奏曲》利用簡短二段體，碰撞出清新的音響效果；《降D大調間奏曲》旋律線條較長，富歌唱性，可以窺見浦浪克人格特質中既傳統又創新的兩面；《降A大調間奏曲》旋律極富詩意，音色豐富。
第五章探究浦浪克三首間奏曲的音樂風格，筆者從「曲式特色」、「音型發展」及「織度與力度」三個層面來討論；第六章將上述各點歸納成結論。

Francis Jean Marcel Poulenc was one of the most important composers in the 20th century solo piano works. The style of his music is very unique, which is simple with humor; also very elegant and romantic. The author had research on “Deux intermezzi” and “Intermezzo in A-flat Major”, which were composed in 1934 and 1943.
The thesis is constructed with six chapters. Chapter one, introduction, expresses the motive, purpose and the research method of this study. Besides the general statement of Poulenc’s background, chapter two also focus on how his style of composition had been formed, transformed, and influenced in three periods. Chapter three describes the characters of Poulenc’s solo piano works in different period, also presents the major technique in composition of his solo piano works. Poulenc was prolific, producing a total number of 34 opuses for piano. Poulenc’s works fall into three distinct periods, each with its own characteristics. Early works reflected the influence of Erik Satie and Les Six with their bare, linear simplicity. Piano works from his second period were influenced by Chopin and Schumann. The method Poulenc tended to use in his composition was alike with those in romantic period. There are few fine late piano works, which are harder in technique.
The research focus of chapter four is the development of intermezzi; also the detailed analysis of Poulenc’s three intermezzi. Intermezzo in C Major is in binary form, which creates fresh sound. Intermezzo in D-flat Major is built with longer phrasing and singing line. It shows both sides of Poulenc’s personality, conservative and creative. Poetic music phrasing is played in Intermezzo in A-flat Major with rich sound.
In chapter five, music style of Poulenc’s three intermezzi will be discussed in three aspects, which are characters of the form, phrasing, and texture. All research will be concluded in chapter six.

目次--------------------------------------------- i
表目次-------------------------------------------- iii
譜例目次------------------------------------------ iv

第一章 緒論
第一節 研究動機與目的----------------------------- 1
第二節 研究方法與範圍------------------------------ 2

第二章 浦浪克的生平
第一節 自學時期--------------------------------- 3
第二節 六人組時期-------------------------------- 6
第三節 全盛時期--------------------------------- 7

第三章 浦浪克的鋼琴作品特色
第一節 浦浪克的鋼琴作品與分期特色-------------------- 9
第二節 浦浪克鋼琴作品的主要技法--------------------- 16

第四章 三首間奏曲之樂曲分析
第一節 間奏曲簡介-------------------------------- 20
第二節 《C大調間奏曲》樂曲分析---------------------- 23
第三節 《降D大調間奏曲》樂曲分析------------------- 32
第四節 《降A大調間奏曲》樂曲分析------------------- 39


第五章 浦浪克三首間奏曲的風格特色
第一節 曲式與主題樂句------------------------------ 45
第二節 音型發展--------------------------------- 52
第三節 織度與力度-------------------------------- 58


第六章 結論---------------------------------------- 76

參考文獻
一、 西文書目------------------------------------- 77
二、 中文書目------------------------------------- 77
三、 中文期刊與論文---------------------------------- 78
四、 外文論文------------------------------------- 78

參考文獻
一、中文書目
吳祖強編著。《曲式與作品分析》。台北：世界文物，1994。
沈珍伶著。《布拉姆斯三個時期鋼琴曲代表作研究》。台北：五南，2001。
楊沛仁著。《音樂史與欣賞》。台北：美樂，2001。
劉志明著。《曲式學》。台北：全音樂譜，1999。
蕭慶瑜著。《法國近代鋼琴音樂－從德布西到杜悌尤》。台北市：國立編譯館，2009。

二、外文書目
Buckland, Sidney & Chimenes, Myriam. Francis Poulenc: Music, art, and literature. Brookfield, VT: Ashgate, 1999.
Chimenes, Myriam and Roger Nichols. “Poulenc, Francis,” The new Grove Dictionary of Music and Musicians online, ed. Stanley Sadie.
http://www.grovemusic.com
Crossley, P.. (Pianist). Francis Poulenc: The complete music for solo piano. (compact disc CBS M3K 44921). New York: CBS, 1987.
Davies, Laurence. The gallic muse. London: J. M. Dent & Sons, 1967.
Keck, George Russell. Francis Poulenc: a bio-bibliography. New York: Schirmer Books, 1990.
Pierre Bernac. Francis Poulenc: the Man and his Songs, trans. Winifred Radford New York: W. W. Norton, 1977.
Schmidt, Carl B.. The Music of Francis Poulenc(1899-1963): A catalogue. Oxford: Clarendon Press, 1995.

三、中文期刊與論文
陳盈融。〈浦朗克鋼琴作品《主題與變奏》之探討與演奏詮釋〉。輔仁大學，2007。
黃亭瑤。〈浦朗克《夜曲》及《憂鬱》之樂曲分析與演奏詮釋〉。國立臺北教育大學，2009。
謝琇莉著。〈浦浪克鋼琴作品風格評析〉。《台東大學教育學報》。第14期(下)。2003。第99-124頁。
謝琇莉著。〈浦浪克鋼琴作品及彈奏技巧概述〉。《師大學報-人文與社會類》。第50/1期。2005。第131-149頁。
蘇稚蘋。〈浦浪克鋼琴作品《夜曲》之創作與詮釋探討〉。中山大學，2007。

四、外文論文
David Conley McKinney. “The Influences of Parisian Popular Entertainment on the Piano Works of Erik Satie and Francis Poulenc,” D. M. A. diss., The University of North Carolina at Greensboro, 1994.
Elizabeth Ann Laufers. “Francis Poulenc’s Use of Counterpoint in Chamber and Piano Music, 1917-1925.” M. M. diss., The University of Missouri-Kansas, 2004.
Gay K. Grosz. “AN ANALYSIS OF THE HISTORICAL AND BIOGRAPHICAL INFLUENCES ON THE MUSIC OF FRANCIS POULENC AS PORTRAYED IN HIS LES SOIRÉES DE NAZELLES,” PhD diss., Louisiana State University and Agricultural Mechanical College, 2009.
Keith William Daniel. “Francis Poulenc: A Study of His Artistic Development and His Musical Style.” PhD. diss., State University of New York at Buffalo, 1980.
Kirk A. Severtson. “Poulenc’s Development as a Piano Composer: A Comparison of the Solo Piano Works and the “Melodies”,” D.M.A. diss., The University of Cincinnati, 2005.
Linda Pruitt Stutzenberger. “The Published Solo Piano Works of Fracis Poulenc(1899-1963): A Performance Tape with Commentary.” D. M. A. diss., The University of Maryland, 1979.