斯特拉溫斯基《義大利組曲》之演奏詮釋與分析（大提琴與鋼琴版本）

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Title:	斯特拉溫斯基《義大利組曲》之演奏詮釋與分析（大提琴與鋼琴版本） The Interpretation and Analysis of Stravinsky《Suite Italienne》(Cello and Piano Version)
Authors:	陳藝方 Chen, Yi-Fang
Contributors:	音樂學系西洋音樂組
Keywords:	斯特拉溫斯基義大利組曲大提琴 Stravinsky Suite Italienne Cello
Date:	2013
Issue Date:	2014-02-20 14:09:55 (UTC+8)
Abstract:	本論文主要以斯特拉溫斯基（Igor Stravinsky, 1882-1971）的《義大利組曲》由皮亞悌哥爾斯基（Gregor Piatigorsky）共同改編給大提琴與鋼琴的版本作為研究主題。此作品原先為芭蕾舞劇《普欽奈拉》（Pulcinella），是斯特拉溫斯基在1919年至1920年間與俄國知名芭蕾舞團經理－戴亞吉列夫（Sergei Diaghilev）合作的作品。樂曲以一種「新古典」近巴洛克的風格創作而成；其旋律構造與和聲進行，及舞曲風格的節奏，都是借自於十八世紀義大利巴洛克作曲家裴哥雷西（Giovanni Battista Pergolesi）的歌劇旋律作為基礎創作成的，並於1922年將樂曲改編成管弦樂團版本。1932年，斯特拉溫斯基與俄國大提琴家皮亞悌哥爾斯基共同合作演出，將《義大利組曲》改編給大提琴與鋼琴演奏的版本。大提琴與鋼琴版本的《義大利組曲》中包含序曲、小夜曲、詠嘆曲、塔朗泰拉舞曲、小步舞曲與終曲。　　筆者將本研究分為五個章節。第一章為緒論，說明研究動機、研究目的與研究方法、研究範圍，第二章為斯特拉溫斯基的生平介紹與音樂創作風格闡述，並且敘述《普欽奈拉》與《義大利組曲》之創作背景與關聯性。第三章為《義大利組曲》樂曲結構之分析，第四章為探討《義大利組曲》演奏之詮釋，第五章為結論，將本論文做整合與歸納。 In this paper, my research topic is Stravinsky's “ Suite Italienne ” transcribed for cello and piano version by Gregor Piatigorsky. This work originally was finished in 1919-1920 that from Stravinsky’s ballet “ Pulcinella ”, which cooperated with the famous Russian ballet’s manager - Sergei Diaghilev. The work is composed of a “ neo-classical ” that’s nearly the baroque style; However, the melody structure, harmony, and rhythm of the dance style are based on the 18th century Italian Baroque composer - Giovanni Battista Pergolesi’s opera melody to creation. In 1922, Stravinsky adapted the work for orchestra version. In 1932, the “ Suite Italienne ” transcribed for cello and piano version that established by Stravinsky in collaboration with Russian cellist - Gregor Piatigorsky. The cello and piano version contains of Introduzione, Serenata, Aria, Tarantella, Minuetto e Finale. Five chapters will be introduced in this paper. The first chapter is an introduction, which states the research motive, purpose, research methods and range of this study. The second chapter narrates Stravinsky's biographies and musical style, and the background of this composition and correlation between “ Pulcinella ” and “ Suite Italienne” will be described. The third chapter focuses on the musical analysis of “ Suite Italienne ”. The forth chapter discusses the performance issues and interpretation of “ Suite Italienne ”, and the last chapter is the integrated and summarized conclusion of this paper.
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