臺灣博碩士論文加值系統

伊果．史特拉溫斯基 (Igor Stravinsky, 1882-1971) 創作早期有三部極負盛名的芭蕾舞劇——《火鳥》(The Firebird)、《彼得洛希卡》(Petrushka)和《春之祭》(The Rite of Spring)。《彼得洛希卡三樂章》是史特拉溫斯基為阿圖．魯賓斯坦 (Arthur
Rubinstein, 1887-1982) 改編而成的鋼琴獨奏版。
在這首《彼得洛希卡》中無論是芭蕾舞劇中活動與靜止的畫面，還是鋼琴獨奏版中史特拉溫斯基採用強烈對比的改編手法，都是在所有協和或不協和的音樂動機中尋求一種平衡，使整首作品在各種矛盾的素材中達到一種統一性，從而使之成為一首在技術上和音樂上都極富挑戰性的曲目。魯賓斯坦作為史特拉溫斯基唯一允許改編這首曲目的鋼琴家，充分利用鋼琴的效能，頗具新意的改編使魯賓斯坦版的《彼得洛希卡三樂章》令人耳目一新。
筆者在這篇論文中重點探討史特拉溫斯基版《彼得洛希卡三樂章》的織度與層次處理和魯賓斯坦改編版的記錄與分析，希望透過研究不同改編者的改編思路，能對這首作品的結構有更深的瞭解以及在演奏上能有更多元的思考方式。

Igor Stravinsky (1882-1971) wrote three famous ballet works during the early period of his creation——The Firebird, Petrushka and The Rite of Spring. Later, Stravinsky adapted Petrushka on the solo piano version for Arthur Rubinstein (1887-1982).
In Petrushka, whether in the active or inactive episodes in the ballet, or in the striking contrasts arranged and adapted in the solo piano version, the main goal was to seek a balance between the contrasts, which in this work
achieved unity in all kinds of incompatible materials, thus becoming a highly challenging composition both technically and musically. Rubinstein as the only pianist that
Stravinsky allowed to adapt this composition, made full use of the piano’s effect, resulting in a refreshing performance version that took some notable adaptation methods.
This paper mainly discusses the texture and layering in Stravinsky’s Petrushka on the solo piano, while also putting down on paper Rubinstein’s adaptation as heard in his live recording. The author hopes through this research into different adapters’thinking, one could reach a deeper understanding of this composition, and hence a wider scope for the performance interpretation.

演奏會曲目與輔助文件摘要...................................i
Recital Program and Paper Abstract.......................iii
目錄.......................................................v
譜例目錄..................................................vi

前言.......................................................1
第一章《彼得洛希卡》創作背景和史氏兩種版本的介紹...........2
第一節 創作背景............................................2
第二節 場景介紹............................................3
第三節 交響樂版與鋼琴版於架構上的區別.....................13
第二章 探究鋼琴獨奏版《彼得洛希卡三樂章》的織度與層次處理........................................................15
第一節 由民歌素材的段落探討...............................15
第二節 由雙旋律交織處探討.................................39
第三節 由交響樂版的啟發探討...............................46
第三章 阿圖•魯賓斯坦的現場錄音獨奏版.....................65
第一節 第一樂章：俄羅斯舞.................................66
第二節 第二樂章：彼得洛希卡的房間.........................76
第三節 第三樂章：狂歡節市集...............................80
第四節 總結魯賓斯坦版不同於原版的主要用意與特質..........106
第四章 結語..............................................108
參考文獻.................................................110

書籍

Cross, Jonathan. The Cambridge Companion to Stravinsky.
Cambridge: Cambridge University Press, 2003.

Cross, Jonathan. The Stravinsky Legacy. Cambridge: Cambridge
University Press, 1998.

Griffiths, Graham. Stravinsky’s Piano: Genesis of a Musical Language. Cambridge: Cambridge University Press, 2013.

Hamm, Charles, ed. Petrushka: An Authoritative Score of the Original Version;Backgrounds; Analysis; Essays, Views and Comments. New York: Norton, 1967.

Oliver, Michael. Igor Stravinsky. London: Phaidon Press, 1995.

Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley: University of California Press, 1996.

Van den Toorn, Pieter C.. The Music of Igor Stravinsky. New Haven: Yale University Press,1983.

洪萬隆編。《黎明音樂辭典》。臺北市：黎明文化事業股份有愛心公司。 中華民國83年。

康謳編。《大陸音樂辭典》臺北市：大陸書店,。中華民國75年。
羅貝爾·西約昂。 《斯特拉文斯基畫傳》 。 汪純子、 王紅川譯。 北京：中國人民大學出版社， 2004。

林勝儀譯。《新訂標準音樂辭典 M-Z,索引》。臺北市：美樂出版社。1999。

Sachs, Harvey. 《魯賓斯坦傳》 。 陳軍譯 。 臺北市： 世界文物出版社，1998。

樂譜

Stravinsky, Igor. Petrushka : Original Version 1910-11，edited by Dover. Mineola, N.Y. : Dover, 1999.

Stravinsky, Igor. Three Movements from “Petrouchka”,
transcribed by the composer for piano solo. New York: International Music Company, 1971.

CD

Rubinstein, Arthur. New Highlights from Rubinstein at Carnegie Hall. SONY Classical 88691936912, ℗2011.