臺灣博碩士論文加值系統

馬克斯・雷格 (Johann Baptist Joseph Maximilian Reger, 1873-1916) 為浪漫時期後期德國作曲家、鋼琴家、管風琴家、指揮家兼教師。雷格一生崇敬巴赫 (Johann Sebastian Bach, 1685-1750)，並受到當時浪漫音樂家影響，尤其以提倡絕對音樂回歸傳統的布拉姆斯 (Johannes Brahms, 1833-1897) 及發展高度半音主義的華格納(Richard Wagner, 1813-1883) 影響雷格最甚，使雷格的音樂具有更多樣化且複雜的風格。身處於十九世紀末至二十世紀初的音樂過渡時期，雷格的音樂特色及創作手法，也為日後現代主義音樂的發展鋪路。
僅僅四十三年的生命，雷格擁有驚人的創作量，其中也為鋼琴創作了36首獨奏作品。然而，至今在德國以外之地區，雷格的音樂仍未廣泛地受重視，其鋼琴作品更是鮮少被演奏。
本論文將以雷格為鋼琴獨奏所創作之《即興曲》作品十八 (Improvisations, Op.18)為探討的主軸。本文共分為五章，第一章為緒論，簡介研究動機、目的、涵蓋範疇及方法；第二章為雷格的生平及音樂特色，藉由雷格一生所受到音樂家之影響，探究其音樂特色，並深入分析其鋼琴音樂之創作手法；第三章為《即興曲》創作背景與樂曲分析；第四章為演奏詮釋之探究，除了闡述彈奏技巧與音樂詮釋，也透過相關文獻了解雷格在鋼琴演奏之特色，以更貼近雷格的演奏詮釋；第五章則為結論。

Johann Baptist Joseph Maximilian Reger (1873-1916) was a German composer, pianist, organist, conductor and academic teacher of the late-Romantic period. Reger admired Johann Sebastian Bach (1685-1750) in his all life, and he was influenced by the romantic musicians of his time, especially Johannes Brahms (1833-1897) who advocated absolute music and returned to tradition, and Richard Wagner (1813-1883) who developed chromaticism highly. All of these led to the more various and complex style of Reger’s music. Reger, which lived in between the middle period of late nineteenth century and early twentieth century, his music features and compositional methods also became the basis of the modernism of music afterwards.
Only living forty-three years, Reger surprisingly left a great quantity of compositions, and among these works he composed thirty-six works for piano solo. However, until now Reger’s music is still not regarded widely outside Germany, and his piano works are very seldom performed.
This thesis mainly discusses Max Reger’s piano solo piece Improvisations, Op.18. It is divided into five chapters, and chapter one is introduction of the dissertation, introducing the motivation, purpose, range and method of research. Chapter two is about Reger’s life and the style of his music, exploring the features of his music and analyzing the composing methods of his piano music by realizing the influences on Reger by other musicians. Chapter three is aimed at the background and analysis of Improvisations, and chapter four is concentrated on the interpretations of this piece, besides explaining playing techniques and interpretations, also understanding the style of Reger’s performance by relevant resources. Finally, chapter five is a conclusion of the past four chapters.

摘要 i
Abstract ii
目錄 iii
表目錄 iv
譜例目錄 v

第一章 緒論 1
第一節 研究動機與目的 1
第二節 研究範圍與方法 2

第二章 雷格生平及創作特色 3
第一節 雷格生平簡介 3
第二節 雷格音樂風格特色 8
第三節 雷格鋼琴作品創作特色 12

第三章《即興曲》創作背景及樂曲分析 20
第一節《即興曲》創作背景 20
第二節《即興曲》樂曲分析 21

第四章《即興曲》演奏詮釋 49

第五章 結論 57

參考文獻 60

一、西文書目
Brauss, H. , Max Reger’s Music for Solo Piano : An Introduction. The University of
Alberta Press, Edmonton, 1994.

John Gillespie, Five Centuries of Keyboard Music. New York : Dover Publicscations, INC,1965.

Martha Thomas, The Forgotten Romantic : Discovering Max Reger’s intermediate and early advanced piano compositions, 11th Australasian Piano Pedagogy Conference Proceedings. Georgia Music Teachers Association, 2013.

Nicolas Slonimsky, Lexicon of Musical Invective. W. W. Norton & Company, 2000.

Walter Frisch, German Modernism : Music and The Art. University of California Press, 2005.

William E. Grim, Max Reger : A Bio-Bibliography. New York : Greenwood Press, 1988.


二、西文期刊
Leon Botstein, “History and Max Reger”, The Musical Quarterly, Vol. 87, No. 4, Special Issue : Max Reger (Winter, 2004) : 617-627. London : Oxford University Press.
http://www.jstor.org/stable/3600979 (accessed October 5, 2015).

Reinhold Brinkmann, Antonius Bittmann, “A ‘Last Giant in Music’ : Thoughts on Max Reger in the Twentieth Century”, The Musical Quarterly, Vol. 87, No. 4, Special Issue : Max Reger (Winter, 2004) : 631-659. London : Oxford University Press.
http://www.jstor.org/stable/3600981 (accessed April 12, 2016).


三、西文論文
Bohnenstengel, Christian Peter, Max Reger’s Telemann Variations, Op.134 : Analysis and critical evaluation of editions, including an examination of Reger’s performance style based on concert reviews. University of Nebraska, 2007.

Daniel En-Hao Lin, The Evolution of Max Reger’s Piano Works Unearthed : Aspects of harmony, counterpoint, and texture. Indiana University, 2015.


四、中文論文
王若瑜。新世代的鋼琴即興曲－由卡普斯汀《三首即興曲》探討二十世紀鋼琴作品中引用爵士音樂元素的趨勢與實例。實踐大學音樂學系碩士學位論文，2014。

林思盈。《雷格G大調第一號無伴奏大提琴組曲作品131c》樂曲分析與演奏詮釋。台北藝術大學碩士學位論文，2009。

戴源宏。馬克斯・雷格《古代風格組曲》之研究。實踐大學音樂學系碩士班樂曲詮釋報告，2014。


五、西文電子資源
Bruno Nettl, et al. “Improvisation.” Grove Music Online. Oxford Music Online. Oxford University Press,
http://163.21.239.102:2090/subscriber/article/grove/music/13738pg2. (accessed March 9, 2016).

Erich Schwandt. “Capriccio (i).” Grove Music Online. Oxford Music Online. Oxford
University Press, http://163.21.239.102:2090/subscriber/article/grove/music/04867.
(accessed March 9, 2016).

IMSLP “List of works by Max Reger.”
http://imslp.org/wiki/List_of_works_by_Max_Reger

John Williamson. “Reger, Max.” Grove Music Online. Oxford Music Online. Oxford
University Press, http://163.21.239.102:2090/subscriber/article/grove/music/23064.
(accessed Feburary 26, 2016).

Max-Reger-Institut / Elsa Reger Foundation (MRI),
http://www.max-reger-institut.de/en/max-reger/curriculum-vitae



六、中文電子資源
國家教育研究院雙語詞彙、學術名詞暨辭書資訊網。http://terms.naer.edu.tw/ (2016年2月17日)


七、樂譜
Reger, Max. 6 Intermezzi for Piano, op.45. Munich : Jos. Aibl Verlag, 1900.

. 7 Silhouettes, op.53. Munich : Jos. Aibl Verlag, 1901.

. 8 Improvisations, op.18. London : Augener, Ed.6336, 1902.

. Aus meinem Tagebuch, op.82. Berlin : E. Bote & G. Bock, 1904-12.

.Variations and Fugue on a Theme of Johann Sebastian Bach, op.81. Leipzig :
Lauterbach & Kuhn, 1904.

. Variations and Fugue on a Theme of Telemann, op.134. Leipzig : Peters,
1914.


八、有聲資料
Markus Becker (1996). Reger : Das Klavierwerk, Vol.1. Thorofon (Bella Musica).
B0000267IF, CD.

Markus Pawlik (1999). Reger : Piano Music. Naxos. 553331, CD.