臺灣博碩士論文加值系統

本論文透過美國近代作曲家柯瑞良諾（John Corigliano, *1938）的鋼琴獨奏作品《即興發揮》（Winging It）剖析近代作曲家對於音色的使用，並了解本作品在鋼琴音色歷史上的地位。在〈緒論〉中，筆者藉由討論音色之相關文獻，例如亥姆霍茲（Hermann Helmholtz, 1821-1894）、柯甘（Robert Cogan, *1930）與斯勞森（Wayne Slawson, *1932）等學者對於分析音色的理論，探討音色的定義，與這些理論在對於鋼琴音色詮釋上的利弊。第一章〈作曲家概述〉簡述柯瑞良諾的生平，與其作品中音色使用的特別之處。第二章〈近代鋼琴音色與技巧〉，筆者從十七世紀起至今的鋼琴曲目，探究音色使用的演進，進而探討在樂器構造與演奏技巧間，如何影響鋼琴音色。第三章〈《即興發揮》音色分析與詮釋〉聚焦於柯瑞良諾在《即興發揮》中所使用的音域、力度與樂曲結構安排，並剖析這些因素如何成為影響音色的關鍵及功能，接著筆者將進一步提供音色上的詮釋建議。在〈結論〉中，筆者總結柯瑞良諾於《即興發揮》中對於鋼琴音色使用上的貢獻，並討論本曲在鋼琴音色上的定位。

This thesis explores contemporary American composer John Corigliano’s (*1938) work for piano solo Winging It. My agenda is how this work stands in terms of the use of piano timbre in piano literature from Baroque to the present. In “Introduction,” I review primary and secondary literature of the study of timbre, especially the works by Hermann Helmholtz (1821-1894), Robert Cogan (*1930) and Wayne Slawson (*1932). I survey theses scholars’ definition of timbre, and the pros and cons of their theories when applied to a productive discussion of piano timbre.
Chapter One (“Composer’s Overview”) briefly introduces Corigliano’s life, in which I relate to the significance of the use of timbre in his works. Chapter Two (“Modern Piano Timbre and Techniques”) explores timbre in piano literature from Baroque to the present, focusing on the issues of how timbre related to both the changing construction of the piano and the corresponding performance style and techniques. In Chapter Three (“An Analysis of the Timbre in and the Interpretation of Winging It”), I discuss how Corigliano’s treatment of registers, dynamic marking, and structure in Winging It reveals his special conception and definition of timbre. I also offer interpretive suggestions, showing possible ways to enable these factors’ contribution to stand out. In the concluding chapter, I sum up Corigliano’s contribution to the use of piano timbre in Winging It, and suggest how this work stands in the evolution history of piano timbre.

劉嘉容鋼琴獨奏會 i
輔助文件摘要 ii
CHIA-JUNG LIU PIANO RECITAL iii
Abstract iv
誌謝 v
目錄 vi
譜例目錄 vii
表目錄 viii
圖目錄 viii
緒論 1
第一章　作曲家概述 7
第一節、柯瑞良諾之成長歷程 7
第二節、柯瑞良諾之創作理念 8
第二章　近代鋼琴音色與技巧 11
第一節、二十世紀前的鋼琴：結構、音色、曲目與技巧 11
第二節、二十、二十一世紀的鋼琴：音色、曲目與技巧 17
第三章　《即興發揮》音色分析與詮釋 24
第一節、音色分析 26
一、音域與音色 26
二、音量與音色 29
三、結構與音色 31
第二節、音色的詮釋 32
結論 42
參考資料 44
音樂會節目單 49

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