臺灣博碩士論文加值系統

　　本論文旨在分析拉赫瑪尼諾夫《樂興之時》作品十六，其包含作曲家生平、寫作風格與手法，並從上述現象進一步探討演奏與詮釋。
　　第一章說明此文之研究動機與目的，以及相關文獻資料；第二章探討拉赫瑪尼諾夫生平與鋼琴作品風格，以及《樂興之時》作品十六之創作背景；第三章以曲式結構、調性和聲、旋律素材等音高表象作為分析的範圍；第四章探討力度、速度、表情術語、奏法等元素，作為演奏詮釋的重要依據；第五章歸納《樂興之時》六首的共同特徵與差異點，在分析與詮釋上能有更整體性的認知。
拉赫瑪尼諾夫傳承了後浪漫樂派的精神以及其他重要作曲家如柴可夫斯基、蕭邦、李斯特等，並將其進行有邏輯性的整合外，更加入他自己深沉的情感與憂鬱氣質，樹立自己獨特的音樂風格。
　　《樂興之時》這部作品，拉赫瑪尼諾夫運用半音化的和聲進行與旋律線，同時也使用特殊音階如八音音階、洛克里安調式來增加和聲的多變性。慢版樂章習慣減少休止符的實質來改變樂句的音樂張力，快版樂章則常用齊奏、卡農、反向等手法讓織度更豐富。

巴哈：平均律鋼琴曲集第一冊　Ｅ大調（BWV854）
貝多芬：第二十八號鋼琴奏鳴曲　作品一○一
拉威爾：夜之加斯巴——水妖
拉赫瑪尼諾夫：樂興之時　作品十六第一、三、四、六首

　　The purpose of this study is to analyze Rachmaninoff's “Moments musicaux, op. 16”, including composer life, style and compositional skill. Then discuss the interpretation of these works.
The first chapter explains the motivation, purpose, and references of this thesis. The second chapter discuss Rachmaninoff’s life, style of piano works, and creation background of “Moments musicaux, op. 16”. The third chapter explores the musical phenomena about the form structure, harmony, and the melodical motive. The fourth chapter discuss the performance of analysis, also including the dynamics, temple, articulations and terminology, giving the appropriate interpretation. The fifth chapter sum up the similarities and differences between six works “Moments musicaux”, to have better perception in these pieces.
Rachmaninoff inherited by the spirit of Late-Romanticism and composers such as Tchaikovsky, Chopin and Lizst. He not only brought Late-Romanticism to a logical conclusion, but added his own depth of spirituality, brooding melancholy.
In “Moments musicaux, op. 16”, Rachmaninoff uses the chromatic harmony and melody, also uses the Octatonic scale and the Locrian mode, to make the variety of harmony. He habitually reduces the substance of rest note in the slow movement, and makes symphonic sound in the allegro movement by unison, canon, and reverse.

J. S. Bach (1685-1750): Das Wohltemperierte Klavier I BWV854 in E major
L. v. Beethoven (1770-1872): Piano Sonata No. 28, Op. 101
M. Ravel (1875-1937): Gaspard de la Nuit, Ondine
S. Rachmaninoff (1873-1943): Moments musicaux, op. 16 no. 1, 3, 4, 6

第一章　緒論 1

第二章　拉赫瑪尼諾夫生平與音樂風格 4
　第一節　拉赫瑪尼諾夫生平 4
　第二節　拉赫瑪尼諾夫的鋼琴作品與風格 9
　第三節　樂興之時之意義與創作背景 13

第三章　樂曲分析 15
　第一節　曲式結構 15
　第二節　調性與和聲 22
　第三節　旋律素材與運用 44

第四章　詮釋探討 61
　第一節　第一首降B小調小行版 61
　第二節　第二首降E小調快板 67
　第三節　第三首B小調如歌的行板 71
　第四節　第四首E小調急版 75
　第五節　第五首降D調慢板 78
　第六節　第六首莊嚴的C大調終曲 82

第五章　總結 86

參考書目 89

外文書目
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Yakovlev, V. “S. V. Rachmaninoff.” Russians on Russian music, 1880-1917. Cambridge: Cambridge University, 1904.
Yasser, Joseph. “Progressive Tendencies in Rachmaninoff's Music.” Tempo, 22, (1952): 1-25. http://www.jstor.org/stable/943073

中文書目
平井丈二郎。《ラフマニノフ 楽興の時》。東京：株式会社全音楽譜，2011。
阿蘭諾夫斯基。《俄羅斯作曲家與20世紀》。張洪模　譯。北京：中央音樂學院，民94。
Berman, Boris.《鋼琴彈奏法》（Notes from the pianist’ s bench）。廖皎含　譯。台北市：五南，民100。
Bertensson, S., Leyda, J.《拉赫瑪尼諾夫的音樂人生》（Sergei Rachmaninoff: A Lifetime in music）。陳孟珊　譯。台北：原笙國際，民97。
Slenczenska, Ruth.《指尖下的音樂》（Music at Your Fingertips）。王潤婷　譯。台北：大呂出版社，民80。