史克里亞賓《練習曲》選曲之分析與演奏詮釋

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Title:	史克里亞賓《練習曲》選曲之分析與演奏詮釋 An Analysis and Interpretation of Scriabin's Selected Etudes
Authors:	林駿原
Contributors:	音樂學系
Keywords:	蕭邦練習曲神祕主義史克里亞賓
Date:	2019
Issue Date:	2019-09-18 14:31:00 (UTC+8)
Abstract:	亞歷山大‧史克里亞賓（Alexander Scriabin, 1872-1915）為橫跨十九至二十世紀的俄國代表作曲家之一，其早期創作風格深受浪漫主義影響，在不斷的創新變革後，從調性音樂至完全摒棄傳統和聲，成為非調性音樂的先驅者，有別於當代其他俄國作曲家，開創了濃厚個人風格的音樂語彙。本論文以史克里亞賓早期作品《三首小品，作品2》（“Trois Morceaux, Op. 2”）中的〈練習曲，作品2第1首〉（“Etude, Op. 2 no. 1”）、《十二首練習曲，作品8第4、5、12首》（“Douze Etudes, Op. 8 nos. 4, 5, 12”）與中期作品《八首練習曲，作品42第4、5首》（“Huit Etudes, Op. 42 nos. 4, 5”）為例，深入研究與探討。本論文共分為九章。第一章為緒論，說明研究此作品之動機、目的、研究範圍與研究方法。第二章概述練習曲之沿革，以及史克里亞賓早期與中期《練習曲》。第三至八章為本論文之重心，每章皆分別對一首〈練習曲〉作樂曲分析與演奏建議。第九章為結論，回顧每個章節做最後的總整理，透過音樂風格、樂曲結構和音樂詮釋上的研究，從中領略史克里亞賓的作曲手法與樂思。 Alexander Scriabin (1872-1915) was one of the Russian representative composers in the 19th and the 20th centuries. His early works were greatly influenced by the Romanticism. In the early 20th century, he tried new ideas of compositional skills, forming a strong personal musical style. Rather than using traditional harmonic concepts to compose, he adopted avant-garde techniques, and became a leading pioneer in the atonal music. This thesis focuses on Scriabin’s Op. 2 no. 1( from “Trois Morcaux, Op. 2”), Etudes Op. 8 nos. 4, 5, 12( from “Douze Etudes, Op. 8”)and Etudes Op.42 nos. 4, 5( from “Huit etudes, Op.42”). This thesis is divided into 9 chapters. The first chapter explains the purpose of this study. The second chapter shows a brief history of Etude, and some of Scriabin’s etudes composed in his early and middle periods will be introduced in this chapter. The third to the eighth chapter is the main part of the thesis. The writer will analyse some of Scriabin’s etudes and offer performance suggestions. The final chapter is the conclusion of the thesis.
Appears in Collections:	[Department of Music ] Thesis

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