臺灣博碩士論文加值系統

蕭邦《幻想波蘭舞曲》完成於1846年，是蕭邦首次在標題上明確地將「波蘭舞曲」和「幻想曲」兩個樂種名稱結合的作品。這首樂曲的素材包含有波蘭舞曲的元素、幻想曲的特徵、抒情即興的片段、富含深意的長導奏、夜曲風格的抒情中段，以及類似奏鳴曲式的寫作原則，堪稱蕭邦作品中結構最複雜、內容最多元、幻想即興與歌唱性最濃厚的一首波蘭舞曲，而在彈奏如此龐大又複雜的樂曲時，通常會面臨一個難處：如何將它彈奏得緊湊而完整？基於這個緣故，筆者因此想進一步研究這首樂曲在創作素材上的連貫性，以及音樂內在的戲劇性與即興特質。
本論文的研究方向分為三個部分：第一為波蘭舞曲與幻想曲的起源及風格演變，以及蕭邦賦予它們的創新意義。第二為樂曲分析，主要透過曲式結構、導奏動機與主題之間的關聯、調性安排的脈絡與波蘭舞曲節奏的運用來探討蕭邦如何在幻想即興之餘，仍使《幻想波蘭舞曲》保有整體的一致性。第三為演奏詮釋，主要針對這首樂曲的戲劇性與即興特質來探討合適的演奏詮釋。

Chopin completed his Polonaise-Fantasy in 1846, a work in which he combined the title polonaise and fantasy specifically for the first time. This work contains multiple materials, including the polonaise rhythms, the fantasy characteristics, many improvisatory segments, a profound and long introduction, a nocturne-like lyrical middle section, as well as some principles resembling those found in the sonata form. It can be therefore defined as the most complicated in structure, the most abundant in contents, and the richest in fantastic improvisation and singing qualities of Chopin’s polonaises. One faces a difficulty when performing such a huge and complicated piece: how to present a tight-knit and cohesive performance? I am thus interested in the study on the coherence between the composition materials, and also in the exploration of the internal drama dispersed with the improvisatory qualities in this work.
This paper investigates three aspects: firstly, the origin and development in the styles of the polonaise and the fantasy, as well as their innovative meanings presented by Chopin; secondly, the coherence of the Polonaise-Fantasy through musical analysis of the formal structure, the connections between the introduction motives and primary themes, the tonal structure, and the applications of the polonaise rhythm; thirdly, the performing practice and interpretation on this dramatic and improvisatory large work.

目 錄
演奏會曲目與輔助文件摘要 i
Recital Program and Paper Abstract ii
致謝 iii
梁嘉珍鋼琴演奏會錄音CDs iv
目錄 v
譜例目錄 vi
表目錄 vii
輔助文件：融合波蘭舞曲與抒情即興特質的幻想曲：蕭邦《幻想波蘭舞曲》之研究與詮釋
一、前 言 1
二、波蘭舞曲與幻想曲的起源、發展與蕭邦筆下的創新意義 2
2.1 波蘭舞曲 2
2.1.1 波蘭舞曲的起源 2
2.1.2 波蘭舞曲的音樂特徵 2
2.1.3 蕭邦以前寫作波蘭舞曲的作曲家及其作品 4
2.1.4 蕭邦波蘭舞曲的形式與風格 5
2.1.5 蕭邦波蘭舞曲的情感意義 6
2.2 幻想曲 7
2.2.1 幻想曲的起源、發展與風格演變 7
2.2.2 從蕭邦三首作品來看幻想曲對蕭邦的代表意義 7
三、從基本架構與創作元素來探討蕭邦《幻想波蘭舞曲》的文脈與連貫性 9
3.1 曲式結構 11
3.2 導奏動機與主題之間的關聯 15
3.3 調性安排的脈絡 20
3.4 波蘭舞曲節奏的運用 21
四、從蕭邦《幻想波蘭舞曲》的戲劇性與即興特質來談演奏詮釋 23
4.1 蕭邦《幻想波蘭舞曲》的戲劇性與即興段落的角色安排： 23
4.2 低音聲部於即興段落的主導性 26
4.3 受幻想與即興風格影響的調性轉變及和聲進行 30
4.4 附點節奏的彈性使用 34
五、結語 35
參 考 文 獻 36

參 考 文 獻
一、外文書目
Cone, Edward T. Musical Form and Musical Performance. New York: W. W. Norton, 1968.
Cook, Nicholas. A Guide to Musical Analysis. Oxford: Oxford University Press, 1994.
Ferguson, Howard. Keyboard Interpretation: From the 14th to the 19th Century: An Introduction. Oxford: Oxford University Press, 1975.
Gillespie, John. Five Centuries of Keyboard Music: An Historical Survey of Music for Harpsichord and Piano. New York: Dover Publications, 1972.
Gordon, Stewart. A History of Keyboard Literature: Music for the Piano and Its Forerunners. New York: Schirmer Books, 1996.
Eigledinger, Jean-Jacques. Chopin: Pianist and Teacher—As Seen by His Pupils, translated by Naomi Shohet, edtited by Roy Howat, Cambridge: Cambridge University Press, 1988.
Huneker, James. Chopin: The Man and His Music. New York: Dover Publications, 1966.
Kallberg, Jeffrey. “Chopin’s Last Style.” In Chopin at the Boundaries: Sex, History, and Musical Genre. Cambridge, Mass.: Harvard University Press, 1996.
Kirby, F. E. Music for Piano: A Short History. Portland, Oregon: Amadeus Press, 1995.
Letnanova, Elena. Piano Interpretation in the Seventeenth, Eighteenth, and Nineteenth Centuries: A Study of Theory and Practice Using Original Documents. Jefferson, N.C.: McFarland, 1991.
Newcomb, Anthony. “The Polonaise-Fantasy and Issues of Musical Narrative.” In Chopin Studies 2, edited by Jim Samson, and John Rink, 84-101. Cambridge: Cambridge University Press, 1994.
Randel, Don Michael ed. The New Harvard Dictionary of Music. Cambridge, Mass.: The Belknap Press of Harvard University Press, 2001.
Samson, Jim. Chopin Studies. Cambridge: Cambridge University Press, 1988.
Samson, Jim. The Cambridge Companion to Chopin. Cambridge: Cambridge University Press, 1992.
Samson, Jim. The Music of Chopin. Oxford: Oxford University Press, 1994.
Smialek, William. Frederic Chopin: A Guide to Research. New York: Garland Pub., 2000.
Todd, R. Larry. Nineteenth-Century Piano Music. New York: Schirmer Books, 1990.
Wolff, Konrad. Masters of the Keyboard: Individual Style Elements In the Piano Music of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. Bloomington & Indianapolis: Indiana University Press, 1990.

二、中文書目
王美珠，〈蕭邦的音樂語言〉，《歷史月刊》141（1999），頁67-71。
余濟倫，〈蕭邦鋼琴作品與十九世紀歐洲浪漫主義〉，《歷史月刊》141 （1999），頁62-66。
克利斯汀•安默（Christine Ammer），《音樂辭典》（The Harper Collins Dictionary of Music），貓頭鷹翻譯組譯，香港：貓頭鷹，2005。
梁全炳譯，安東尼•格魯津斯基著，〈作為鋼琴教育家的蕭邦—從蕭邦的提 示和他的學生的談話看作曲家作品的詮釋和演奏方法〉，《人民音樂》441
（2003），頁28-33。

三、網路資源
Stephen Downes: ‘Polonaise’, Grove Music Online, edited by L. Macy (Accessed 19 Jan 2009), <http://www.grovemusic.com>

四、樂譜
Chopin, Fryderyk. Polonaises Opp.26-61, edited by Jan Ekier and Paweł Kamiński, National Edition, 2001.