臺灣博碩士論文加值系統

舒曼於1849年在德勒斯登以民族風格創作了五首大提琴與鋼琴的小品 (作品第102號)，曲中使用的旋律是否為當時的民謠已不再是探討的重點，因為這裡所謂的「民族風」著重於追求理想中純粹的人性，及對自己國族強烈的認同感。當時政治正處於不穩定的狀況，雖然舒曼不像華格納積極的參與革命，但內心依然深切的關心，轉而將民族的情懷以及虛空這個標題放入曲中。或許是要呼應哥德同名的詩所要表達的：對於所追求的事情，最終還是要放空。由於受到尚．保羅很深的影響，幽默的表情指示雖然只在第一首明確的寫出，但整曲中還是可找到其蹤影。無盡的對比為最常使用的手法，而他的雙重人格的精神特質也表現在曲中。民族風、虛空和幽默三者之間既矛盾卻又彼此關連：面對革命所帶來的虛空，舒曼嘗試將國族的情懷化為藝術創作，並以幽默的音樂語言來消解對現實的無奈。

Robert Schumann composed five pieces for cello and piano in folk style, opus 102, in 1849. The focus of this study is not the specific folk origin of the melodies, since the idea of “folk style” at that time is an expression of the purely human and national identy. In 1849, the political situation in Dresden, where Schumann lived, was very unstable. Although Schumann did not actively participate in the May Uprising like Richard Wagner, he was still deeply involved inwardly. By invoking the folk style and using “vanitas vanitatum” as the motto of this opus, Schumann seems to be echoing the sentiment in Goethe’s poem with the same name: there is much vanities in all human endeavors. Schumann only used “humor” as expression mark in first piece, nevertheless, due to the intense influence of Jean Paul, this element can still be found in all the other pieces. Infinite contrast and the character of dual personality are amply displayed. Folk style, vanity and humor are contradictory yet mutually connected: Facing the vanity of revolutions, Schumann tried to sublimate his nationalism in his music, and took humor as a release to the helplessness of reality.

演奏會曲目...........................................i
輔助文件摘要.........................................ii
Recital Program......................................iii
Paper Abstract.......................................iv
誌謝.................................................v
高琦惠大提琴演奏會.................................. vi
目錄.................................................vii
圖目錄...............................................viii
譜例目錄.............................................ix
第一章 引論……………………………………………………1
第二章 民族風的定義…………………………………………2
第三章 舒曼在德勒斯登之時空背景…………………………5
第四章 「虛空的虛空」………………………………………9
第五章 幽默的元素……………………………………………11
第六章 五首小品的分析………………………………………15
第七章 結論……………………………………………………28
參考書目……………………………………………………………29

一、中文書目
李哲洋。《名曲解說全集15：獨奏曲2》。臺北：大陸書店，1983。
彼得．奧斯華 (Peter F. Ostwald)。《天使與魔鬼之舞—舒曼的一生》(Schumann: Music and Madness)。張海燕譯。臺北：高談文化，2003。
南西．瑞區 (Nancy B. Reich)。《克拉拉．舒曼》(Clara Schumann: The Artist and the Woman)。陳秋萍、游淑峰譯。臺北：高談文化，2003。
康謳。《大陸音樂辭典》。臺北：大陸書店，2002。
提姆．道雷 (Tim Dowley)。《偉大作曲家群像：舒曼》(The Illustrated Lives of the Great Composers: Schumann)。朱健慧譯。臺北：智庫文化，1995。
歌德。《歌德詩集》。錢春綺譯。上海：上海譯文版社，1982。
二、西文書目
Dahlhaus, Carl. “The Idea of Folk Song.” In Nineteenth- Century Music, 105-111. Berkeley: University of California Press, 1989.
Daverio, John. “Schumann’s Systems of Musical Fragments and Witz.” In Nineteenth-Century Music and the German Romantic Ideology, 49-88. New York: Schirmer Books Press, 1993.
——. “Unbounded Creativity.” In Robert Schumann: Herald of a “New Poetic Age,” 388-395, 426. Oxford: Oxford University Press, 1997.
——. “Einheit-Freiheit-Vaterland: Intimations of Utopia in Robert Schumann's Late Choral Music.” In Music and German Identity. Edited by Celia Applegate and Pamela Potter, 59-77. Chicago: Chicago University Press, 2002.
——, and Eric Sams. “Schumann, Robert.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/40704 (accessed January 14, 2009).
三、樂譜
Schumann, Robert. Five Pieces in Folk Style, Op. 102, edited by Edmund Kurtz. New York: International Music, 1998.
——. “Four Marches.” In Piano Music of Robert Schumann Series III, edited by Clara Schumann and Johannes Brahms. New York: Dover Publications, 1980.
——. Dichterliebe, Op. 48. Leipzig: C. F. Peters, 1844.
——. Fantasiest�佟ke, Op. 73. Leipzig: Breitkopf & H�鑼tel, n.d.
四、網路資料
Stringflamer。stringflamer部落格。hhttp://blog.xuite.net/stringflamer/chambermusic/11231422。