臺灣博碩士論文加值系統

「指揮是甚麼？」探詢此問題之旅程，幾乎等同一名指揮者養成之過程，為了回答此一問題，筆者藉由撰寫樂曲詮釋報告的機會，選擇巴赫的《第二號布蘭登堡協奏曲》為例。現代人所熟悉的，以專職的指揮者角色參與合奏類型的音樂，此一演奏傳統在十八世紀時尚未形成，然而本作品在當代的演出，實務上經常包含指揮者的參與；這樣的差異性，使得筆者感到好奇，希望能透過作品的分析，瞭解其音樂內涵，進而透觀指揮者的「在場」與「缺席」兩種演出方式對於演奏者與音樂的影響，從中探尋指揮的功能性與目的性，以回答「指揮是甚麼？」的根源問題。

第一章將簡述巴赫的生平，並說明其創作特色與風格，從中汲取出本作品的創作時空背景；第二章將依樂章順序，將各樂章分為數個音樂段落，分析作品內涵與其創作手法，並說明其音樂效果；第三章將聚焦於指揮的手部與肢體表現，建立指揮動作與音樂之間的連結，說明各段落中動作上需要呈現的重點與注意事項；最後一章將比較三個知名樂團所演奏的版本，爰引例證闡述：不同的指揮、有無指揮、座位安排、樂器使用等演出製作的差異因素，如何影響音樂的成果，並期望從中獲得值得學習的典範。

筆者在書寫過程中，深深感受到：試圖以論述性文字去描繪聲音現象，其中連結的力量猶如蜉蝣般薄弱，但仍然希望揭露有限的文字線索，藉以提供學習指揮者，或者試圖瞭解指揮之學習者，針對第二號布蘭登堡協奏曲，提供個人心得之文字臨摹。

“What is conducting?” The journey of inquiry to the question almost equals to the training process of a conductor. In order to fulfill the inquiry, with the opportunity of essay writing, I choose Bach’s 2nd Brandenburg Concerto as the object of study. The tradition of a conductor participating the ensemble or orchestral performances, which is familiar nowadays, has not been established during 18th century. Nevertheless, concerning the practical performance of Brandenburg Concerto, the presence of a conductor is often being seen. The unexpected difference that emerges from various concert traditions led to my curiosity, hoping to seek the function and justification of a conductor through the analysis of the music, and thus, examine the corresponding effect on music through both the cases of presence and absence of a conductor.

The first chapter will be narrating the life of Johann Sebastian Bach and his composition features, and drawing the context of the 2nd Brandenburg Concerto. The second chapter will be dividing each movement into paragraphs according to the order at the composer’s will, and analyze the composition and the musical effect it created. Conductor’s hands and conducting movements will be discussed in the third chapter. By establishing connections between the gestures and the music, essentials of conducting will be posted. In the final chapter, three versions of different performances will be presented for describing how different conductors, arrangements of seating, and type of instruments result in different musical effect, and seeking models that are worth-taking.

During the process of writing, the weak notion of the connection between words and actual sound notwithstanding, by discovering limited written indication, I have the inclination of providing an obscure picture of authenticity in terms of the discipline of conducting.

目　次
前言……………………………………………………………………………………5
緒論……………………………………………………………………………………7
壹、研究動機…………………………………………………………………7
貳、研究目的與範圍……………………………8
參、研究方法……………………………………………9
第一章　巴赫生平與創作背景……………………………10
第一節　生平介紹………………………………………………………10
第二節 略年表…………………………………………………………15
第三節 創作背景……………………………………………………16
第二章　樂曲分析………………………………………………………19
第一節　第一樂章………………………………………………………20
第二節　行板　Andante.…….………………………………24
第三節　相當快的快板　Allegro assai………26
第三章　指揮技巧與詮釋…………………………………………30
第一節　第一樂章………………………………………………………31
第二節　行板　Andante…………………………………………40
第三節　相當快的快板　Allegro assai………42
第四章　作品相關比較與論述………………………………46
第一節　版本比較…………………………………47
第二節　六首布蘭登堡協奏曲比較………53
結語………………………………………………………………………………………55
參考資料……………………………………………………………………………56
作者簡介……………………………………………………………………………57

中文
林勝儀譯。《名曲解說珍藏版12，巴赫》。臺北：美樂出版社，2000。
陳淑美。《論J.S.巴赫布蘭登堡協奏曲》。國立臺北藝術大學音樂學系碩士班論文，2005。

外文
Deleuze, Gilles.Trans. W. Smith, Daniel. „Francis Bacon: The Logic of Sensation.”New York: Continuum, 2005.
Spitta, Philipp. Trans. Bell, Clara and Fuller-Maitland, J. A. “Johann Sebastian Bach, His Work and Influence on the Music of Germany, 1685-1750, vol. 1.” New York: Dover Publications, Inc.
Boyd, Malcolm. “Bach: The Brandenburg Concertos” Cambridge: The University Press, 1993.
Williams, Peter. “The Life of Bach” Cambridge: The University Press, 2004.
Wolff, Chirstoph and Emery, Walter. “New Grove Dictionary: Bach, Johann Sebastian” Oxford: Oxford University Press, 2001

網路
https://youtu.be/3HSRIDtwsfM
https://youtu.be/aDB5Bi18iW8
https://youtu.be/IETYYTMtL6U