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研究生:陳世芬
研究生(外文):chen shih- feng
論文名稱:H.C.Koch與A.B.Marx音樂分析之探討
論文名稱(外文):A Research on H. C. Koch and A. B. Marx’sA Research on H. C. Koch and A. B. Marx’s Musical Analyses
指導教授:徐玫玲徐玫玲引用關係
學位類別:碩士
校院名稱:輔仁大學
系所名稱:音樂研究所
學門:藝術學門
學類:音樂學類
論文種類:學術論文
論文出版年:2009
畢業學年度:98
語文別:中文
論文頁數:153
中文關鍵詞:寇赫馬克思
外文關鍵詞:H.C.KochA.B.Marx
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從古典時期開始,音樂創作風格已由聲樂曲思維轉向主調器樂曲的發展。而
在樂曲分析上,是以「樂句結構」(phrase structure)和「模式形式」(formal model)
為主。然而到了十九世紀初,理論分析則是以「組織成長」(organic growth)和「形
式教導」(the teaching of form)為重。大約在十八世紀中期到十九世紀中期,德國
兩位重要音樂理論家Heinrich Christoph Koch 與Adolf Bernhard Marx,著重在器樂
曲奏鳴曲式 (sonata form) 分析上,各自發表利用樂句(phrase)與形式(form)、
主題(theme)與組織(structure)發展的分析論點,而論述屬於他們自己獨特的
音樂分析風格。在音樂的美學觀點上,Koch 認為音樂結構是「自然的」,音樂的主
題是「激動的感覺」。而在Marx 的美學觀裡,「形式」是滿足一個作曲家的概念、
感覺、想法的方法,完全的發展樂思(idea)的概念。此論文將結合兩位理論家在
音樂分析與美學的概念,並以古典過渡浪漫時期的音樂家作品為實例,作更進一
步的研究與探討。
From the beginning stage in the Classicalism, the creative style in music has changed
development of theme in tuning composition from the vocal music thought in the
musical instrument. At that time, the musical analysis focused on the mainstream of
“phrase structure” and “pattern form” or “formed model”. However, the transform of
theoretical analysis focuses on “organic growth” and “the teaching of form” at the 19th
century. Therefore, there are two singnificant musical theorists--Heinrich Christoph
Koch and Adolf Bernhard Marx, approximately in 18th century intermediate stages to
19th century intermediate stages. Their theorisms emphatically focus on the composition
for instrument sonata type-- “sonata form” in analysis, respectively published their
viewpoints on using the phrase with the form as well as the subject(theme)in the
analysis of argument and organic development with the organization. Their viewpoints
were elaborated in detail of their uniqueness in the style of music analysis. In addition
to aesthetic viewpoint, Koch thought music structure with “natural” and music subject
with “the feeling of passionate”; Marx’s viewpoint in aesthetics emphasized on “form”
which was satisfied with the method of conception, sentiment and idea in a composer’s
ii
complete development.
This paper will present two theoreticians in the music analysis and aesthetic
conception. Morever, the paper will be used well-known documented and extensive
evidence from Classicalism to Romanticism as an example. After that, it is well done
more further research and the discussion in depth.
目 錄
摘 要.........................................................................................................................................i
Abstract....................................................................................................................................i
凡 例.......................................................................................................................................iii
目 錄.......................................................................................................................................iv
譜 例 目 錄...........................................................................................................................vi
表 例 目 錄..........................................................................................................................xii
第壹章 緒論.............................................................................................................................1
第一節 研究動機與目的...............................................................................................1
第二節 研究範圍、方法與架構...................................................................................1
第三節 文獻探討............................................................................................................3
第貳章 音樂分析的歷史(1750 年之前)..........................................................................5
第一節 古希臘................................................................................................................6
第二節 中世紀時期.......................................................................................................7
第三節 文藝復興時期.................................................................................................15
第四節 巴洛克時期.....................................................................................................24
第五節 十八世紀.........................................................................................................30
第參章 十八世紀德國音樂理論家:H. C. Koch............................................................32
第一節 Koch 的生平與理論著作...............................................................................32
第二節 Koch 的分析觀................................................................................................37
(一)樂句結構....................................................................................................37
(二)形式............................................................................................................45
(三)奏鳴曲式....................................................................................................51
(四)句法與修辭...............................................................................................62
第三節 Koch 分析的例證...........................................................................................68
(一)樂句結構分析例證..................................................................................68
(二)奏鳴曲式分析例證..................................................................................73
1 交響曲.........................................................................................................73
2 鋼琴奏鳴曲.................................................................................................77
vi
3 鋼琴協奏曲...................................................................................................80
(三)詠嘆調(Aria)的分析.............................................................................84
第肆章 十九世紀德國音樂理論家:A. B. Marx...........................................................89
第一節 Marx 的生平與理論著作.............................................................................89
第二節 Marx 的分析觀..............................................................................................94
(一)主題............................................................................................................95
(二)奏鳴曲式..................................................................................................105
(三)輪旋曲式..................................................................................................112
(四)輪旋奏鳴曲式.........................................................................................117
(五)調性..........................................................................................................123
(六)美學觀......................................................................................................124
第三節 以Beethoven 為分析例證.........................................................................126
(一)鋼琴奏鳴曲式...........................................................................................127
(二)交響曲奏鳴曲式.......................................................................................131
(三)第九交響曲《合唱》Symphonie No. 9 “ Choral "美學的表現139
第伍章 結論......................................................................................................................145
參考書目.............................................................................................................................147
參考書目
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期刊
Sisman, Elaine. “Small and Expended Forms: Koch’s Model and Haydn’s Music.” The Musical Quaeterly 68 (1982): pp. 444 – 475.
網路
http://de.wikipedia.org/wiki/Adolf_Bernhard_Marx(Accessed 2009.05.30)
http://de.wikipedia.org/wiki/ Heinrich_Christoph_Koch(Accessed 2009.05.30)
http://de.wikipedia.org/wiki/ Nikolaus_ Listenius(Accessed 2009.06.30)
http://de.wikipedia.org/ Quintilian(Accessed 2009.04.10)
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---,Symphonie No. 9 d moll op. 125. Tokyo: Ongaku – No – Tomo, 2004.
Mozart,Wolfgang Amadeus. Mozart: Die zehn berühmten Streichquartette. Ed. Ludwig Finscher. Kassel: Bärenreite, 2005.
---,Le Nozze di Figaro. New York: Dover Publications, 1979.
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