古典時期協奏曲第一樂章曲式研究

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陳郁涵(Yu-han Chen) 查詢紙本館藏

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藝術學研究所

論文名稱

古典時期協奏曲第一樂章曲式研究
(The first Movement of Solo Concerto research in Classical period)

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摘要(中)

摘要
十八世紀獨奏協奏曲第一樂章的曲式結構，由原本巴羅克時期慣用的回轉曲式逐漸的轉變為奏鳴曲式。古典時期在所有器樂作品皆大量運用奏鳴式原則創作的同時，協奏曲第一樂章曲式之發展亦牽扯到回轉曲式與奏鳴曲式之間的關聯性。協奏曲第一樂章曲式到底是由回轉曲式逐漸轉變為奏鳴曲式，或是後者直接取代前者，亦或此二者間的關聯事實上更為複雜？本論文即針對十八世紀協奏曲第一樂章曲式之轉變進行研究，並以樂種發展的角度加以深入探討。
本論文主要參考文獻為與協奏曲第一樂章曲式相關之英美期刊論文，首先整理協奏曲各地發展狀況，接著分析十八世紀協奏曲第一樂章為佐證，並以十八世紀到十九世紀末間，各家音樂理論關於協奏曲第一樂章形式發展的描述作為論述之依據。樂曲實例與理論相關文字相互對照，試圖從中釐清古典時期 (Classical) 協奏曲第一樂章曲式發展之真實面貌。經由本文作品實例分析與相關理論檢視，確認十八世紀協奏曲第一樂章形式的確融入了奏鳴曲式的手法。但就整體樂章而言，協奏曲和交響曲無法等同，協奏曲第一樂章曲式亦非奏鳴曲式，古典時期協奏曲的第一樂章曲式應該回歸樂種發展的脈絡下來觀察。

摘要(英)

Abstract
Originally, the composition of the first movement of solo concerto in the 18th century was gradually transformed into the sonata form from the ritornello form commonly used in the baroque period. In the classical period (1750～1820) when almost all musical instruments began to create in accordance with the principle of sonata form in a tremendous amount of numbers, a new development of the first movement form of concerto, however, was hinged upon the correlation between the ritornello form and the sonata form. Did the first movement form of concerto undergo a progressive transformation from ritornello form into a news version of sonata form, or was the ritornello form being directly replaced by the sonata form? Or even, there was a more complex correlation existing between these two forms? This study intends to conduct an in-depth research on the transformation of the first movement form of concerto of the 18th century from the angle of music genre development.
Using the first movement form of concerto related articles published on various English and American periodicals as main reference, the study tries to clarify the real feature of development of the first movement form of concerto during the classical period, by first compiling the development situation in various countries, and cross-referring of musical pieces and related theories based on the 18th century’s first movement form of concerto, and the theoretical descriptions from the 18th through the end of 19th century. Results of the study indicate that the first movement form of concerto of the 18th century did integrate sonata form in its way of expression. Nevertheless, the concerto was not the equivalent to the symphony in terms of the overall movement, while the first movement form of concerto was not identical to sonata form. The first movement form of concerto in the classical period should be examined by returning it back to the context of music genre development.

關鍵字(中)

★ 交響曲
★ 二段式
★ 古典時期
★ 奏鳴曲式
★ 第一樂章曲式
★ 第一樂章
★ 協奏曲
★ 獨奏協奏曲
★ 海頓
★ 莫札特
★ 曼漢樂派
★ 柏林樂派

關鍵字(英)

★ classical
★ pre-classical
★ sonata form
★ Concerto grosso
★ solo concerto
★ Tovey
★ Marx
★ Czerny
★ Mozart
★ Koch
★ ritornello form
★ Concerto

論文目次

目錄
第一章 1700至1780年獨奏協奏曲發展 1
第一節整體概況 2
第二節作曲家與作品概述 5
一、義大利 5
二、德國 13
(一) 柏林樂派 14
(二) 曼漢樂派 17
三、奧地利 20
(一)維也納 20
(二) Wolfgang Amadeus Mozart (1756-1791) 22
四、法國 24
五、英國 26
第三節綜合整理 28
第二章第一樂章形式實例與相關之理論描述 31
第一節各地作品曲式比較 32
一、相關曲式 32
(一) 回轉曲式 (Ritornello Form) 32
1. 聲樂中的回轉曲式 32
2. 器樂中回轉曲式 34
(二) 奏鳴曲式 (Sonata Form) 36
二、協奏曲第一樂章曲式在各地的情況 39
(一)義大利 40
(二) 柏林樂派 44
(三) 曼漢樂派 46
(四)奧地利 49
(五) 英國 52
三、綜合比較 56
第二節古典協奏曲第一樂章曲式之相關論述文字 62
一、十八世紀之相關文字 62
(一) H. C. Koch之外的音樂理論家 62
(二) Heinrich Christoph Koch 69
1.《作曲導論》的相關文字 69
2.《音樂辭典》的相關文字 73
二、十九世紀後之相關文字 75
(一) Karl Czerny (1791-1857) 76
(二) Adolf Marx (1795-1866) 78
(三) Marx之後 (Prout的解決辦法) 80
三、綜合整理 84
(一) 偏向回轉曲式的描述 84
(二) 偏向奏鳴曲式的描述 84
(三) 折衷的描述 85
第三章作品與理論對照 88
第一節第一段回轉與第一段獨奏主題之觀察 89
一、回轉主題的運用 89
二、第一段獨奏的主題 94
三、第一段回轉主題與第一段獨奏主題的關係 96
(一) 主題在第一段回轉與第一段獨奏上的呈現 103
(二) 第一段回轉與第一段獨奏主題的調性 109
(三) 第一段回轉與第一段獨奏的長度 110
第二節主題的再現 112
一、再現的方式 112
二、再現的時間 117
第三節協奏曲第一樂章形式可能呈現的形式結構 126
第四章結論 132
第一節雙呈示部之探討 132
第二節協奏曲中奏鳴曲式之地位與重要性 136
第三節總結 140
參考文獻 142
附錄 151

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指導教授

曾瀚霈(Hann-pey Tseng)

審核日期

2008-7-4

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