臺灣博碩士論文加值系統

弗朗西斯‧浦浪克（1899-1963）為二十世紀最具代表性的法國作曲家之一，身為法國六人組的一員，浦浪克的整體音樂風格以1920年初盛行的新古典主義為基調。這組《四旬期的四首經文歌》，創作於1938-39年間，其所展現強大的戲劇性張力，為浦浪克步入成熟作曲家的轉捩點。
本論文共分為四個部分：第一章探討的是浦浪克音樂沿革的歷程與轉折，其中包括不同時期的事件與人物，對於浦浪克在寫作風格上的影響；第二章則將浦浪克的合唱作品，概分為世俗音樂以及宗教音樂，並歸納其風格的異同，此外也將探究題目本身的創作背景。第三章以理性的角度來分析這組作品，共分為「歌詞」、「曲式」、「和聲」及「織度」四個要項作深入的探討，並著重於上述要項在作品中的音畫設計。最後第四章則思考如何藉由前面文章探討所得之重點，發展出更適切，更趨於作品本質的詮釋方式。

Francis Poulenc (1899-1963) is considered one of the foremost French composers of the twentieth century due to his expressive melody and the genius of harmonic progression. As a member of “les sixs” in 1920-24, the music style of Poulenc can be inferred to the Neo-Classicism. "Quatre motets pour un temps de penitence", one of the most dramatic works, was completed during 1938-39. The motet plays a key role in Poulenc’s life, which symbolizes a mature composer.
This thesis is divided into four parts, respectively: Artistic development and musical style of Poulenc; Poulenc’s choral works; the analysis of "Quatre motets pour un temps de penitence"; and the performance practice of the motets.
The first chapter focuses on the development of Poulenc's musical style, which can be divided into four stages and each of them is studied amply. The second chapter concentrates on the features of secular and sacred works, and the background of the motets. The third chapter focuses on the analysis of the structure and the application of his composition devices such as texts, form, harmony, texture, and word- painting. The final chapter argues the performance practice, which deals with the issues such as tempos, dynamics, and qualities of voice.

前言..........................................................i
目錄.........................................................ii
緒論..........................................................1
壹、研究動機與目的....................................1
貳、研究方向 ............................................3
第一章 弗朗西斯‧浦浪克的生平與音樂沿革.....................4
第一節 20年代以前的初期風格............................4
第二節 「瘋狂年代」與浦浪克的新古典主義.................8
第三節 30年代創作風格的改變...........................16
第四節 40年代後的晚期風格.............................22
第二章 浦浪克的合唱作品.....................................27
第一節 世俗合唱作品...................................27
第二節 宗教合唱作品...................................31
第三節 《四旬期的四首經文歌》的創作背景................36
第三章 《四旬期的四首經文歌》之樂曲分析.....................39
第一節 歌詞...........................................39
第二節 曲式...........................................47
第三節 和聲...........................................56
第四節 織度...........................................67
第四章 《四旬期的四首經文歌》的演奏詮釋......................70
第一節 〈恐懼與顫驚〉..................................71
第二節 〈我所揀選的葡萄園〉............................73
第三節 〈黑暗籠罩了大地〉..............................76
第四節 〈我的心靈甚是憂傷〉............................79
結語.........................................................82
附錄 《四旬期的四首經文歌》之歌詞翻譯......................84
參考書目 ....................................................86
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「畢業音樂會曲目」
Johann Sebastian Bach(1685-1750) "Gottes Ziet ist die allerbeste Zeit" BWV106
張俊彥(b.1973) 第一號清唱劇《北冥有魚》
Francis Poulenc(1899-1963) "Quatre motets pour un temps de penitence"
I Timor et Tremor
II Vinea Mea Electa
III Tenebrae Factae Sunt
IV Tristis Est Anima Mea
Eric Whitacre(b.1970) "Five Hebrew Love Songs"
I Temuna
II Kala kalla
III Larov
IV Eyze sheleg
V Rakut
Toru Takemitsu: Three Japanese Songs
I To the Island
II A Song of Circles and Triangles
III Sayonara

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