臺灣博碩士論文加值系統

演奏一首困難的曲目時，彈奏技巧與演奏詮釋對於演奏家來說極其不易，一份好的分析與研究，能夠幫助演奏家很快的理解創作背景與曲目中的技巧，進而減少練習時間，並對曲目做出更好的詮釋。世界上一些被世人認定為高難度的曲目，如《伊斯拉美》（Islamey, Op. 18）、《夜之幽靈》（Gaspard de la Nuit）及拉赫瑪尼諾夫《第三號鋼琴協奏曲》（Sergei Rachmaninoff: Piano Concerto No. 3, Op. 30）都有其相關的研究。由阿戈斯悌（Guido Agosti，1901-1989）改編自斯特拉溫斯基（Igor Fyodorovich Stravinsky，1882-1971）的《火鳥》（L’oiseau de feu）鋼琴組曲，因原曲使用不同樂器搭配不同素材拼貼組合創作而成，有別於以往18世紀調性和聲的手法，和弦的銜接不存在主屬之間的關係，若是未經總譜對照，單純練習鋼琴改編，將無法判斷其複雜的音色變化及聲部線條。本文著重於分析拼貼（Collage）的創作手法、旋律線條、織度設計角度切入分析《火鳥》的最後三曲，針對彈奏技巧與演奏詮釋加以說明，使閱讀者能夠透過對作品的了解找到最適合此曲的詮釋，並解決閱讀者的彈奏技術困難。

巴赫 (1685-1750)：《平均律鍵盤曲集》第㇐冊前奏曲與賦格，升g小調，作品863
巴赫 (1685-1750)：《平均律鍵盤曲集》第二冊前奏曲與賦格，e小調，作品879
貝多芬 (1770-1827)：E大調《鋼琴奏鳴曲》，作品109
蕭邦/郭多夫斯基 (1810-1849/1870-1938)：第42號a小調改編自蕭邦《練習曲》作品25第11首
布拉姆斯 (1833-1897)：A大調《間奏曲》，作品118第2首
斯特拉溫斯基/阿戈斯悌 (1882-1971/1901-1989)：《火鳥》鋼琴組曲- 〈地獄之舞〉、〈搖籃曲〉與〈終曲〉

When performing a laborious work (piece), performers are constantly haunted by both the interpretation and the technique. With the help of the analysis and research of the musical piece, performers can shorten their time of practice by gaining a deeper understanding of the piece’s composing background and give out a better performance (interpretation). Many kinds of research have been done on some of the most difficult works on the planet like Islamey, Gaspard de la Nuit and Rachmaninoff: Piano Concerto No.3. Other from most of the tonal pieces in the 18th century, the Firebird was composed in a collage style by Igor Stravinsky (1882-1971) and then adapted into the piano solo by Guido Agosti (1901-1989). The absence of the connection between the tonic chord (function) and the dominant chord leads to a complicated distribution of voices with a wide variety of timbre. For this reason, the transcription of the Firebird for piano solo can be extremely hard to interpret without a careful study of the full score. Therefore, our work mainly focuses on the analysis of the collage composing method, the weave of melodic lines and the musical texture for both the transcription and the original work. By the analysis and the explanation in both interpretation and technique aspects, our research can not only solve the performer’s technical obstacles but also inspire touching interpretation.

J. S. Bach (1685-1750): The Well-Tempered Clavier Book I Prelude and Fugue in g-sharp minor, BWV863
J. S. Bach (1685-1750): The Well-Tempered Clavier Book II Prelude and Fugue in e minor, BWV879
L. v. Beethoven (1770-1827): Piano Sonata in E major, Op. 109
F. Chopin/L. Godowsky (1810-1849/1870-1938): Study No. 42 in a minor after Op. 25, No. 11
J. Brahms (1833-1897): Intermezzo in A major, Op. 118, No.2
I. Stravinsky/G. Agosti (1882-1971/1901-1989): L’Oiseau de feu- Danse Infernale, Berceuuse et Finale

第一章 緒論1
第一節 研究動機與目的1
第二節 研究對象、範圍與方法2
第三節 文獻探討3

第二章 創作背景5
第一節 斯特拉溫斯基5
第二節 改編者－阿戈斯悌13
第三節 火鳥15

第三章 改編曲26
第一節 名稱與定義26
第二節 知名的改編曲作曲家28

第四章 《火鳥》鋼琴組曲樂曲分析30
第一節 《火鳥》的創作手法―拼貼30
第二節 旋律線條的安排54
第三節 織度的設計61

第五章 彈奏技巧與演奏詮釋75

第六章 結論83

參考書目85

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