臺灣博碩士論文加值系統

二十世紀初盛行的表現主義與當代的社會環境有密切關係。德國的軍國主義與君主專制的政治環境，使社會動盪不安；而資本主義的經濟制度，讓人民之間的貧富懸殊巨大。另外，多項理性思維的科學研究，以及提醒人類回歸注重內在需求的哲學思潮，使人們開始關注心理分析學說之發展。因此，注重內在情感表達的表現主義精神漸漸興盛，表現主義者的新觀念，於文學、戲劇、繪畫、音樂等領域中日益茁壯，希冀突破傳統之拘束，用最直接與強烈的感受去描繪內心感受，透過扭曲的形式，期望表現出真實的自我。阿諾德‧荀白克(Arnold Schoenberg, 1874-1951)受到生活週遭之影響，面對現實與內心理想之矛盾，傾向用無調性音樂來表達情緒，常被視為表現主義音樂代表之一。

本文的研究內容，除了前言與結語之外，共分為三個部分。第一部分探討二十世紀初表現主義的起源與風格，第二部分則是敘述荀白克表現主義時期的音樂創作方式與轉變過程，探究他深受不同領域表現主義者以及其生活環境之影響，導致他的音樂創作突破傳統和聲的限制，創作出革新的無調性音樂。最後一部分探討荀白克《三首鋼琴曲，作品十一》的創作背景，並闡述其音樂特性，探究樂曲中如何運用創作手法來顯現表現主義之內涵。

The prevalence of expressionism in the early twenty century was strongly related to the social environment at that time. Under the political situation of militarism and absolute monarchy, the society was facing a severe turbulence in Germany. And, an economic system based on capitalism also lead to extreme disparity between the rich and the poor. Additionally, the scientific study of rationality revealed the importance of caring for the inside needs, which gradually resulted in the prosperity of expressionism in different kinds of arts fields, including literature, theater, painting, music and so on. Expressionists started to express their feeling in a distorted way in order to show their true self and emotional experience. Arnold Schoenberg, who was one of the chief representatives in music of expressionism, used atonal composition skill as a reflection of his dissatisfaction against the reality.

This study is divided into three main parts, excluding the part of introduction and conclusion. In the first part, the origin and style of expressionism in the early twenty century is introduced. Secondly, factors leading to the transformation of Schoenberg’s composition skill, from the conventional method to the innovative atonal technique, are further discussed, which include the effect from other expressionists in other fields and his living environment. In the last part, Drei Klavierstucke, Opus 11 is taken as an example to demonstrate its historical background, music features, and composition techniques used in the work to specifically tell the content of expressionism.

前言.....................................................................................1

表現主義的起源與風格.....................................................3

荀白克與表現主義...........................................................13

《三首鋼琴曲，作品十一》之探討...............................27

結語...................................................................................47

參考書目...........................................................................49

外文書目
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Nietzsche, Friedrich .Thus Spake Zarathustra, Collected Works, Vol.II. Oscar Levy ed. New York: Russell, 1964.

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期刊
Forte, Allen. “Schoenberg’s creative evolution: the path to atonality.” The Musical Quarterly 64, no. 2 (1978): 133-76.

Friedheim, Philip. “Rhythmic Structure in Schoenberg‘s AtonalCompositions.” Journal of American Musicological Society 19, (1966): 59-72.

Gordon, Donald E. “On the Origin of the Word‘Expressionism’.” Journal of Warburg and Courtauld 29, (1966): 368-384.

Lessem, Alan. “Schonberg and the Crisis of Expressionism.” Music and Letters 55, no. 4(Oct. 1974): 429-436.

Samson, J. “Schoenberg‘s Atonal Music.” Tempo 109, (1974):16-25.

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杜美。《德國文化史》，台北：揚智文化事業有限公司。1997年。

沃爾夫–迪特爾‧杜貝(Wolf-Dieter Dube)。《表現主義》，吳介禎、吳介祥譯 。台北市：遠流圖書公司，1999。

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

______。《新維也納樂派》。林勝儀譯。台北市：美樂出版社，2002。

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______。《佛洛伊德主義》，台北市：遠流出版社，1993。
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駱淑嫈。〈荀白克鋼琴作品研究 ─ Op.11，No.1〉。《藝術學報》76(2005): 121-131。

______。〈荀白克作品第十一號第三首鋼琴曲之研究〉。《國立台北教育大學學報》19，2(2006年9月): 89。