| 摘要: | 從文藝復興時期開始，英國音樂作品在西方音樂史中，維持著穩定的發展且都占有一席重要的地位。一直到巴洛克時期之後，英國作曲家所創作的音樂作品，相較於歐陸作曲家莫札特、海頓、貝多芬、布拉姆斯等的創作精神與創新獨特的個人語言，明顯的無法受到當時樂壇的重視。
不過從十九世紀末開始，英國出現許多優秀的音樂家，使得英國音樂重新獲得歐洲樂壇的肯定。布瑞基與巴克斯便是英國在十九世紀末出現的優秀音樂家，他們均受到民族主義的影響，其作品各具特色，為英國音樂添加豐富的色彩。
本論文研究首先探討近代的英國音樂發展，扼要的說明近代英國音樂的發展背景與其復甦，以及近代英國民族的音樂特色。藉由介紹布瑞基與巴克斯的生平事蹟，在暸解布瑞基《大提琴奏鳴曲》與巴克斯《民間故事》的樂曲背景後，加上分析及探討這兩首樂曲的寫作風格和使用素材，以達到多層次的認識，豐富樂曲拉奏時的音樂演奏技巧與詮釋的內涵。
Since the Renaissance, the British music has taken an important role in the history of Western musical scene. Until after the Baroque period, this attention has shift to focus on the composers such as Mozart, Haydn, Beethoven and Brahms. The output of the British composition during this period, do not have such creativeness and vital spirit compare to those compositions by composers in the European continent. However, from the late 19th century, there was a revival in the British musical scene. Charles Hubert Hastings Parry, (1848-1918) and Charles Villiers Stanford, (1852-1924) both went to study in Germany and brought back to their homeland this idea of finding and creating their own language in music, which was called the Nationalism. Bax, Bridge and Elgar were their students and followed this trend.This paper is focused on the modern British music, with an introduction on the historical background in the 19th century. Use Frank Bridge’s “Cello Sonata” and Arnold Bax’s “Folk-Tale” as examples to further explore their individual background, and how they have been influences by this Nationalistic trend and what are the compositional traits to create their own language. Through this process of analyzing the music can open the eyes of the interpreter to achieve a deeper understanding of the music in order to have multi-level knowledge to enrich the fantasy in creating sound colors with the interpretation of the connotation. |
