巴赫降B大調第一首鍵盤組曲BWV825：演奏與詮釋研究

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Title:	巴赫降B大調第一首鍵盤組曲BWV825：演奏與詮釋研究
Authors:	林秋孜
Contributors:	藝術學院
Keywords:	巴赫鋼琴大鍵琴六首鍵盤組曲演奏詮釋與分析
Date:	2003-06
Issue Date:	2012-09-17 14:08:57 (UTC+8)
Abstract:	巴赫《降B大調第一首鍵盤組曲BWV825》是第一部鍵盤練習《六首鍵盤組曲》的第一首樂曲，也是巴赫在１７２６年萊比鍚時期自行出版的第一部樂作。其饒富詩韻的音樂內涵與單純的義大利式吟詠風格讓此曲深入人心，故錄製此曲之音樂家不少，深富研究價值，界定為研究分析的對象相當適宜。本文的研究方向偏重在演奏實用，研究的目的主要有三：一、經由樂譜版本分析比較，提供演奏者選取樂譜的參考；二、藉著不同知名演奏家的演奏比較與分析，瞭解詮釋的創意性與多樣性；三、藉由提供分析性的資訊，提高演奏者對此曲深入研究與詮釋的興趣。本文的研究方法概可分成下列二端：一、選定五種樂譜版本進行比較分析，針對版本特質和與手稿記譜的差異性來作研究比較；二、選定國際上知名八位演奏家的演奏錄音，對他們的演奏詮釋進行客觀的瞭解與分析。全文分為五大部份，包括前言、樂譜詮釋版本研究、演奏詮釋版本研究、結論及附錄。結論中綜合討論各家樂譜版本及演奏版本的差異性和其意義，並對有意研究演奏《降B大調第一首鍵盤組曲BWV825》的演奏者作出建議。 Being the first of all Sechs Partiten, BMV 825-830, Partita I bB major, BMV825 is the first piece of the music work ever published, in 1726, by Johann Sebastian Bach himself during his early career in Leipzig. Its poetic musicality and the simple Italian cantanbile style have made this Partita I a favorite piece among many musicians and classical music lovers. Numerous famous pianist/harpsichordians recorded the Partita I in the studios in the past, which makes the selection of this work the focus of this paper. This paper is written mainly for the preparation for performing. The purpose of this research is three-fold: (1) To provide reference to interested performers for making informed choice among different editions of musical notes by providing comparisons of five popular editions of music notes; (2) To understand and appreciate the many possibilities of creativity and multiplicity of individual performing interpretation by analyzing the recordings by accomplished pianist/harpsichordians; and (3) To raise the interest in research on performing interpretation by providing comprehensive analytical results. The research methodology of this paper is the following: (1) To choose five popular editions of music notes for comparison, and (2) To analyze the recordings by eight internationally renown, accomplished pianist/harpsichordians in order to objectively understand their styles of individual performing interpretation. This paper is divided into five parts: Foreword, Comparison of Printed Editions, Comparison of Recordings, Conclusion, and Appendix. In Conclusion, the meaning of differences among various editions of music notes as well as recordings are discussed and suggestions are made to those who are interested in studying and/or performing this Partita I.
Relation:	華岡藝術學報 (7期) ：p45 -72
Appears in Collections:	[College of Arts] academic journal

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