臺灣博碩士論文加值系統

本文藉由德國作曲家亨德密特於1935年所寫之中提琴協奏曲《燒烤天鵝的人》，探討其運用德國古老民謠之曲意、旋律與文本當中的關聯性。從亨德密特的求學歷程與人生經驗可知其理論之紮實、創作風格之過程、音樂之理念等。以此作品為媒介，將樂曲之架構與分析、練習之困難處、民謠旋律之影射等作為求得合理的詮釋方式之基礎，並嘗試以個人和前輩演奏上的詮釋力求真實表達作曲家所傳達的意念。

The research subject of this thesis is the viola concerto Der Schwanendreher by the German composer Paul Hindemith written in 1935. The paper also focuses on the exploitation of the meanings and the tunes of the German medieval folksongs, and their application and connection with the concerto. By tracing the composer’s musical studies and life experiences, much can be understood about his compositional theories, the various stages of his musical styles and the principles that he holds for music writings. The quest of a truthful performance of the concerto is to be based on the interpretation and analysis of its structure, the resolution of the technical difficulties and the understanding of the insinuation by the medieval tunes in this work. In addition, through personal and others’ performances, the performer hopes to find and achieve a total expression of the composer’s thoughts conveyed in the music.
Key word；Paul Hindemith, medieval tune, Der Schwanendreher

目 錄
頁次
演奏會曲目與輔助文件摘要……………………………....................…….............................i
Recital Program and Paper Abstract....……………………………………................................ii
謝誌..............................................………………………………………………….................iii
黃詩涵中提琴畢業演奏會錄音CDs............................…………………………………........iv
目錄...................................................…………………………………………………..........v
譜例目錄.........……………………………………………….......……………………...........vii
表目錄.........................................……………………………………………………….........viii
輔助文件：亨德密特中提琴協奏曲《燒烤天鵝的人》─詮釋與分析
第一章、緒論.……………………..……………………...…………………………………….1
1.1 作曲家生平………………………………….……………..……………………..………2
1.2 樂曲風格與對音樂的貢獻和地位
1.2.1 樂曲風格…………………………………………………………………………………5
1.2.2 對音樂的貢獻和地位…………………………………………………………..………10
1.3 《燒烤天鵝的人》樂曲創作背景及特色
1.3.1 樂曲創作背景……………………………………………………………….………….12
1.3.2 樂曲特色………………………………………………………………………………..14
第二章、探討樂曲結構
2.1 第一樂章
2.1.1曲式架構……...………………………………………………………………………....17
2.1.2 樂曲分析……..…….………...…………………………………………………………20
2.2 第二樂章
2.2.1 曲式架構………………………………………………………………………………..27
2.2.2 樂曲分析………………………………………………………………………………..30
2.3 第三樂章
2.3.1曲式架構………………………………………………………………………………...35
2.3.2 樂曲分析………………………………………………………………………………..36
第三章、民謠與各樂章間之關聯性及演奏詮釋
3.1民謠與各樂章間之關聯性………………...…….………………………………..………48
3.2 樂曲演奏與詮釋…………...…….…………………………………………………….…50
3.2.1 速度─形而下的意義…………………………………………………………………..52
3.2.2 和絃在文本中的聲響……………………………………………………………….….53
3.2.3 節奏的意念存在性……………………………………………………………………..55
3.2.4 發音(Articulation)和音色(Timbre)的運用…………………………………………….55
3.2.5 中提琴與鋼琴之間的銜接─音量…………………………………………………….57
第四章、結論……………………………………………………………………….…………58
參考文獻.……………………..…………………………...…….…………………………….59
附錄：黃詩涵中提琴畢業演奏會錄音CDs

英文書目
Böhme, Franz M. Altdeutsches Liederbuch. Lepzig: Breitkopf und Härtel,
1877.
Dalton, David. Playing The Viola: Conversations with William Primrose.
New York: Oxford University Press, 1988.
Hindemith, Paul. Der Schwanendreher. Mainz: B. Schott' Söhne, 1936.
Hindemith, Paul. The Craft of Musical Composition: Book II:
Excercises in two-part writing, translated by Otto Ortmann.
Renewed: Schott & Co. Ltd, 1941.
Hindemith, Paul. Der Schwanendreher CD note. EMI077775410129, 1922.
Hindemith, Paul. Geoffrey Skelton ed. Selected letters of Paul Hindemith.
New Haven: Yale University Press, 1995.
Lawson, Colin and Robin Stowell eds. The Historical Performance of Music:
An Introduction. United Kingdom: Cambridge University Press, 1999.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing.
New York: Oxford University Press, 1985.
Neumeyer, David. The Music of Paul Hindemith. New Haven: Yale University
Press, 1986.
Noss, Luther. Paul Hindemith in the United States. Urbana & Chicago:
University of Illinois Press, 1989.
Rink, John. Musical Performance: A Guide to Understanding.
United Kingdom: Cambridge University Press, 2002.
Schubert, Giselher. “Preface” in Der Schwanendreher, translated by
Penelope Souster. London: Ernst Eulenburg & Co GmbH, 1985.
Stolba, K. Marie. The Development of Western Music.
United States of America: McGraw-Hill Companies Inc., 1998.
Stowell, Robin. The Early Violin and Viola: A Practical Guide.
United Kingdom: Cambridge University Press, 2001.
中文書目
約瑟夫•馬吉利 (Joseph Machlis)。《當代音樂介紹》(Professor of Music)，
蘇同右譯。台北：譯者自行出版，1990。
帕瑪(Richard E. Palmer)。《詮釋學》(Hermeneutics)，嚴平譯。
台北市：桂冠，1992。
王秀婷等編。《音樂表演用語詞典》。台北市：世界文物，1994。
斯波索賓。《曲式學上冊》《曲式學下冊》，林道生校訂。台北市：樂韻，
1996。
音樂之友社編。《新訂標準音樂辭典》，林勝儀譯台北市：美樂，1999。
邁可•雷朋，亞倫•肯道爾主編(Raeburn, Michael and Alan Kendall eds.)。
《西洋音樂百科全書8 二十世紀音樂》(Heritage of Music 8 : Music in
the Twentieth Century)，黃寤蘭主編，邱瑗等譯。台北：台灣麥克，2000。
邁可•雷朋，亞倫•肯道爾主編(Raeburn, Michael and Alan Kendall eds.)。
《西洋音樂百科全書9 牛津音樂辭典(上)》(Heritage of Music 9 : The Oxford Dictionary of Music)，黃寤蘭主編，邱瑗等譯。台北：台灣麥克，2000。
賴麗琇著。《德國史(上)》《德國史(下)》。台北市：五南，2003。

期刊
顏莙陵。＜辛德密特的音樂概念＞，《Bravo Viola》4 (2003)，頁3–4。
何能。＜辛德密特簡介＞，《Bravo Viola》4 (2003)，頁5。
廖心如。＜你們不是烤天鵝的人＞，《Bravo Viola》5 (2004)，頁2–9。

線上資源
http://www.americanviolasociety.org/JAVS%20Online/Summer%202003/Hindemith/hindemith.html
http://www.ebook2.com.tw/jazz/jazz_what/revolution.htm
http://www.hindemith.org/E/paul-hindemith/life.htm