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1 國立交通大學音樂研究所碩士論文黃欣儀低音提琴演奏會含輔助文件波特西尼升 f 小調協奏曲之演奏詮釋探討 SHIN-YI HUANG DOUBLE BASS RECITAL WITH A SUPPORTING PAPER AN INTERPRETATION OF BOTTESINI S CONCERTO IN F SHARP MINOR 研究生 : 黃欣儀演奏指導教授 : 陳維哲輔助文件指導教授 : 李俊穎中華民國九十九年七月 vii

2 黃欣儀低音提琴演奏會含輔助文件波特西尼升 f 小調協奏曲之演奏詮釋探討 SHIN-YI HUANG DOUBLE BASS RECITAL WITH A SUPPORTING PAPER AN INTERPRETATION OF BOTTESINI S CONCERTO IN F SHARP MINOR 研究生 : 黃欣儀 Student: Shin-Yi Huang 演奏指導教授 : 陳維哲 Performance Advisor: Wei-Che Chen 輔助文件指導教授 : 李俊穎 Supporting Paper Advisor: Juin-Ying Lee 國立交通大學音樂研究所碩士論文 A Thesis Submitted to the Institute of Music College of Humanities and Social Sciences National Chiao Tung University in Partial Fulfillment of the Requirements for the Degree of Master of Art (Double bass Performance) Hsinchu, Taiwan 2010 中華民國九十九年七月 viii

3 音軌中英文曲名黃欣儀低音提琴演奏會鋼琴 : 王郁菁時間 : 九十九年六月七日 ( 一 ) 下午七點三十分地點 : 國立交通大學學生活動中心 2F 演藝廳作曲家 1.Aria et Rondo A. Desenclos 詠唱調與輪旋曲戴森克勞 ( ) 2.Largo et Scherzando V. Serventi 緩板與詼諧曲塞爾凡提 ( ) Concerto for basson, K. 191 (arr. for double bass) W. A. Mozart 低音管協奏曲, 作品 191 ( 改編給低音提琴 ) 莫札特 ( ) 3.I. Allegro 快板 4.II. Andante ma Adagio 從容的行板 5.III. Rondo 輪旋曲 6.Kol Nidrei M. Bruch 晚禱布魯赫 ( ) Concerto in f sharp minor G. Bottesini 升 f 小調協奏曲波特西尼 ( ) 7.I. Allegro moderato 中庸的快板 8.II. Andantino 小行板 9.III. Allegro con fuoco 熱情的快板 ix

4 黃欣儀低音提琴演奏會研究生 : 黃欣儀演奏指導教授 : 陳維哲教授輔助文件指導教授 : 李俊穎教授演奏會曲目阿弗瑞德. 戴森克勞 : 詠唱調與輪旋曲維多. 塞爾凡堤 : 緩板與詼諧曲沃夫岡. 阿瑪迪斯. 莫札特 : 低音管協奏曲, 作品 191( 改編給低音提琴 ) 馬克斯. 布魯赫 : 晚禱喬望尼. 波特西尼 : 升 f 小調協奏曲上列曲目已於九十九年六月七日下午七點半在國立交通大學演奏廳演出, 該場演奏會的錄音 (Compact Disc) 將附錄於本文輔助文件 : 波特西尼升 f 小調協奏曲之演奏詮釋探討輔助文件中文摘要波特西尼 (Giovanni Bottesini ), 是低音提琴歷史中地位相當重要的一位人物, 他不但是一位低音提琴演奏家指揮家, 也是一位作曲家, 除了寫作歌劇外, 還創作了大量的低音提琴曲目 ; 正因為他指揮歌劇創作歌劇的背景, 在他的低音提琴曲中, 隨處可見宛如歌劇詠嘆調一般的優美旋律, 不僅如此, 他最重要的貢獻, 是在樂曲中利用大量的泛音以及琶音, 讓低音提琴獨奏的技巧提升到另一個境界升 f 小調協奏曲 (Concerto in f sharp minor) 集合了波氏的寫作特點優美的歌唱性旋律炫技的琶音與泛音等, 並且結構完整規模宏大本論文主要透過二個部分, 來探討這首樂曲首先了解作曲家生平, 及同時期低音提琴發展情形與演奏風格, 接下來歸納作曲家常用寫作手法, 並依樂章順序提出筆者對樂曲的自我詮釋第一樂章是傳統的協奏曲奏鳴曲式, 使用快慢交替的寫法, 並擁有篇幅相當長的裝飾奏, 對演奏者的體力和技巧來說, 都不容易的挑戰第二樂章是 ABCA 的歌謠曲式, 此樂章將波特西尼作品的歌唱性旋律特點表現得淋漓盡致, 簡單的旋律線條綴以華麗的裝飾性音符, 如同寫給花腔女高音演唱的一般美麗, 每個大段落都有自己不同的個性, 因此要適當地轉換各段之間的情緒第三樂章是 ABA 三段體, 以音階和軍隊風格的音型為貫穿全曲主要元素, 是以炫技為目的的樂章此外,A 段與 B 段都使用了音階為主要元素, 波氏很巧妙地利用音型的反向與音符符值的增長, 造成二個段落之間有趣的對比關鍵字 : 波特西尼升 f 小調協奏曲低音提琴作曲手法 x

5 Shin-Yi Huang Double Bass Recital Student: Shin-Yi Huang Advisor: Wei-Che Chen Supporting Paper Advisor: Juin-Ying Lee Recital Program Alfred Desenclos: Aria et Rondo Victor Serventi: Largo et Scherzando Wolfgang Amadeus Mozart: Concerto for bassoon, K.191 (arr. for double bass) Max Bruch: Kol Nidrei Giovanni Bottesini: Concerto in f sharp minor The Program above was performed on Monday, June 7, 2010, 7:30pm in the Recital Hall of the National Chiao Tung University. The recording CDs (Compact Disc)of the recital are appended on the paper. Supporting Paper: An interpretation of Bottesini s concerto in f sharp minor ABSTRACT Giovanni Bottesini, who played an important role of history of double bass, was not only a master of double bass, but also a conductor and a composer. His works included operas and lots of double bass solo works. According to his background of conducting and writing operas, beautiful melody which is like arias in opera is one of his work s characteristics, and can be seen everywhere in his works of double bass. In addition, the most important one of his contributions is promoting techniques of double bass by using a large number of harmonics and arpeggios. Concerto in f sharp minor is one of his solo works of double bass. It includes all Bottesini s writing characteristics melody of singing style, use of harmonics and arpeggios and has complete structure and great scale. This article is about to interpret this work through two different parts. First part is to know the biography of Bottesini and contemporary development and performing style of double bass. Second part includes usual writing methods of Bottesini and my opinion of interpretation of this concerto. Fist movement is a traditional sonata form of concerto, and presents the whole movement by the alternation of slow and fast part, and has a long cadenza show all difficult techniques. Second movement is a song form which can be divided into four parts, and presents the singing style by using lots of delicate melodies. In this movement, Bottesini wrote simple melodies with ornamental notes and each part has different way of ornamentation to present their own character. Therefore, performers need to think about how to change the emotions appropriately among different parts. Third movement is a ternary form which intends to show off the complicated skills on double bass. The main materials of this movement are scale and notes of military style. Bottesini created a interesting effect by using opposite directions of notes and longing the value of notes in B part. Keyword: Giovanni Bottesini concerto f sharp minor double bass writing methods. xi

6 目錄頁次黃欣儀低音提琴演奏會曲目... ix 演奏會曲目與輔助文件中文摘要 x Recital Program and Abstract...xi 正文目錄..xii 譜例目錄....xiii 輔助文件 : 波特西尼升 f 小調協奏曲之演奏詮釋探討第一章樂曲背景第一節作曲家生平..1 第二節低音提琴發展與同時期風格.. 4 第二章樂曲詮釋與分析第一節波特西尼寫作手法..6 第二節第一樂章 1. 呈示部發展部再現部裝飾奏..27 第三節第二樂章 1. A 段 B 段 C 段 A 段...39 第四節第三樂章 1. 前奏 A 段 B 段 A 段...46 第三章結論參考文獻 xii

7 譜例目錄頁次譜例 1.6 譜例 2.7 譜例 3.8 譜例 4.8 譜例 5.9 譜例 6 10 譜例 7 10 譜例 8.11 譜例 9 11 譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例 xiii

8 譜例譜例譜例譜例譜例譜例譜例譜例譜例譜例 xiv

苗栗三山國王信仰及其地方社會意涵 The Influences and Implications of Local Societies to Three Mountain Kings Belief, in Taiwan Miaoli 研究生 : 林永恩指導

苗栗三山國王信仰及其地方社會意涵 The Influences and Implications of Local Societies to Three Mountain Kings Belief, in Taiwan Miaoli 研究生 : 林永恩指導國立交通大學客家文化學院客家社會與文化學程碩士論文苗栗三山國王信仰及其地方社會意涵 The Influences and Implications of Local Societies to Three Mountain Kings Belief, in Taiwan Miaoli 研究生 : 林永恩指導教