舒伯特《天鵝之歌》之樂曲分析與詮釋探討

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Title:	舒伯特《天鵝之歌》之樂曲分析與詮釋探討 An Analysis and Interpretation of Franz Schubert’s Schwanengesang
Authors:	莊昱珹
Contributors:	音樂學系
Keywords:	舒伯特《天鵝之歌》德國藝術歌曲 Franz Schubert Schwanengesang Lieder
Date:	2017
Issue Date:	2017-10-03 11:09:14 (UTC+8)
Abstract:	舒伯特(Franz Schubert, 1797~1828)素有歌曲之王的美稱，其聲樂作品更是古典音樂中的瑰寶，其中《美麗的磨坊少女》(Die Schöne Müllerin, D. 795)、《冬之旅》(Winterreise, D. 911)更成為了德文聯篇歌曲(Lieder Zyklus) 的經典，代表了浪漫的時代精神，相較於由後人集結出版的晚期作品《天鵝之歌》(Schwanengesang, D. 957/ D. 965A)卻不屬於聯篇歌曲的範疇。在就讀研究所期間，尤其在接觸舒伯特的作品後，對他優雅的旋律、巧妙的調性轉換等特質十分喜愛，更吸引筆者深探究，故興起以其歌曲集《天鵝之歌》作研究主題的想法。本論文題目為「舒伯特《天鵝之歌》之樂曲分析與詮釋探討」，旨在藉由探討這十四首歌曲，了解舒伯特的《天鵝之歌》以及這些曲目的歌詞翻譯、樂曲分析與演唱詮釋。第一章緒論分為三節，包含研究動機與目的、研究方法與範圍與文獻回顧。第二章則分別介紹舒伯特《天鵝之歌》十四首，從歌詞翻譯、樂曲分析，及演唱詮釋做深入的研究探討。第三章為結論，為本文最後一個章節，總結之前所提及的內容。 Franz Schubert (1797~1828) was a composer well-known for his mastery of the lied, and his vocal works have especially became staples within the classical music repertoire. Among his compositions“Die Schöne Müllerin, D. 795” and“Winterreise, D. 911” were incorporated into the Song Cycle, becoming representative of the romantic spirit. In comparison, “Schwanengesang, D. 957/D. 965A”, his late work organized and published posthumously, was not included into the said song cycle. In my studies I have came into contact with Schubert’s works, and have grown attached to his characteristically graceful melodies and delicate harmonic exchanges. This inspired me to select“Schwanengesang”as the topic of my thesis. The title of this paper, “An Analysis and Interpretation of Franz Schubert’s Schwanengesang”, refers to my exploration of the 14 lieder within said work, the goals of which are to further the understanding of their lyrical translations, musical analysis, and performance interpretations. The introductory first chapter is divided into three parts: an analysis of motif and purpose, the analytic methods, and the literature review. The second chapter individually discusses the 14 lieder within Schubert’s Schwanengesang, delving deeply into the music from the perspectives of lyrical translations, musical analysis, and performance interpretations. The third chapter, being the final and concluding chapter of this paper, summarizes the entirety of the aforementioned discourse.
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