臺灣博碩士論文加值系統

18世紀的音樂美學與17世紀發展的情感理論 (Doctrine of Affect) 具有密不可分的關聯。此理論著重於描述音樂如何產生特定的情感，從而打動聽者的感受。音樂與情感間的連結與主題 (topic) 息息相關。主題理論 (topic theory) 是由倫納德•拉特納 (Leonard Ratner, 1916-2011) 所提出，關注音樂的風格和類型，隨後由其他音樂學家持續發展。透過主題理論可以了解與舞曲風格相關的每個調性、節奏和節拍所衍生的音樂情感與背景故事。
本論文分析擇選於莫札特歌劇中的詠嘆調。莫札特晚年在一些歌劇詠嘆調中偏好使用G小調來形容離別的悲痛之情，而在他的其他作品中，也不難發現G小調的蹤跡。對這些擇選G小調詠嘆調的分析將有助於了解莫札特對於敘事的調性選擇，並更深入地洞察在不同背景和故事下每個詠嘆調的詮釋。

The aesthetics of music in the eighteenth century was related to the “Doctrine of Affects”, which had been developed earlier in the seventeenth century. It focused on how music creates specific emotions, and can eventually move the feeling of the audience. The relation between music and emotion lies in what we called ‘topic’. The very first topic theory was initiated by Leonard Ratner (1916-2011) which focus on style and types of music and was developed by some other music theorists subsequently. Based on these topic theories, the characteristics of each key, rhythm, and tempo in correlation with the dance type that supported the emotion and background story of the music can be known.
In this thesis, some selected arias from Mozart’s operas are analyzed. Mozart in his later years tends to use G minor key in some of his arias to illustrate the grief of parting. G minor key is believed to be a special key to Mozart, as it is also found in many of his works. The analysis of these selected arias in G minor will help to better understand Mozart’s preferences of key related to the story plot and provide deeper insight into the interpretation of each aria with different backgrounds and stories.

ACKNOWLEDGMENT i

摘要 ii

ABSTRACT iii

TABLE OF CONTENTS iv

LIST OF TABLES vi

LIST OF ILLUSTRATIONS vii

LIST OF FIGURES viii

CHAPTER I INTRODUCTION 1

CHAPTER II MOZART AND HIS OPERAS 3
2.1 Mozart's Background 3
2.2 Mozart's Operas 4
2.2.1 Mitridate, re di Ponto (Mithridates, King of Pontus) 5
2.2.2 La Finta giardiniera (The Pretended Garden-Girl) 6
2.2.3 Zaide (Das Serail) 7
2.2.4 Idomeneo, re di Creta (Idomeneus, King of Crete) 8
2.2.5 Die Entführung aus dem Serail (The Abduction from the Seraglio) 9
2.2.6 Der Schauspieldirektor (The Impresario) 10
2.2.7 Die Zauberflöte (The Magic Flute) 10

CHAPTER III THEORETICAL BASES 12
3.1 Affect and Topic Theory 12
3.2 Topic Theory: Dance Music 13
3.3 Key Characteristic 15

CHAPTER IV ANALYSIS OF MOZART'S ARIAS IN G MINOR 17
4.1 Mozart minor mode style: G minor style 17
4.2 Mozart's aria opera in G minor 20
4.2.1 “Nel sen mi palpita dolente il core” from Mitridate, re di Ponto (K.87) 20
4.2.2 “Vorrei punirti indegno” from La finta giardiniera (K.196) 27
4.2.3 “Tiger! Wetze nur die Klauen” from Zaide (K344) 33
4.2.4 “Padre, germani, addio!” from Idomeneo (K.366) 37
4.2.5 “Traurigkeit ward mir zum Lose” from Die Enthführung aus dem Serail (K.384) 40
4.2.6 “Da schlägt die Abschiedsstunde” from Der Schauspieldirektor (K.486) 45
4.2.7 “Ach, ich fühl’s” from Die Zauberflöte (K.620) 50

CHAPTER V CONCLUSION 55

BIBLIOGRAPHY 57

APPENDIX 1A 61

APPENDIX 1B 63

APPENDIX 2 65

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