| 摘要: | 本論文主要是以畢貝爾《玫瑰經奏鳴曲第十六號》及馬瑞《馬瑞風格的奏鳴曲》作為研究主題。
畢貝爾的小提琴奏鳴曲在歷史上佔有重要地位，《玫瑰經奏鳴曲第十六號》帕薩喀亞舞曲是整組作品的最後一首，是一件非常有份量的對位作品，它預告了巴哈後來為小提琴創作的夏康舞曲。由於其艱難的技巧與豐富的音樂性，成為巴洛克小提琴音樂之中的經典作品。而《馬瑞風格的奏鳴曲》此作品雖名為奏鳴曲，但在樂章形式與樂曲風格上卻頗具巴洛克組曲的樣貌，由於此兩首分別於不同國家的作品，因此筆者將探討作品之背景、和聲、曲式以及藉由巴洛克時期小提琴的拉奏法透過個人實際的練習，以期許在演奏詮釋上能呈現作曲家最原創的精神。
The research topic of this thesis will be based on Biber's Rosary Sonata no.16 and Marais's“Sonata A la Maresienne” for violin and Basso continuo.
Biber's violin sonatas have an important role in the history of music,“Passacaglia”, the last work of the“Rosary Sonata no.16” which is a remarkable contrapuntal work that comprises difficult skills and productive music characters, with a result that it becomes the one of the most important piece in the Baroque music and foreshadows Bach's Chaconne. However another composer's work, Marin Marais's “Sonata A la Maresienne” is considered as a suit of Baroque music by the form and the style instead of a sonata. This study will analyze the development of background, harmony, and musical forms to discover the interpretation of these works in Baroque period. |
