| 摘要: | 捷克作曲家阿道夫‧米謝克(Adolf Míšek, 1875-1955)於1905年完成A大調低音提琴奏鳴曲作品5，米謝克本身是位低音提琴演奏家，而作曲風格最初借鑒安東尼•德沃札克(Antonín Dvořák, 1841-1904)，之後成功形成了屬於米謝克獨特表達方式，以優雅、感情飽滿的典型捷克民族音樂為主體，將低音提琴廣泛的音色充分表現出來。
低音提琴有分合奏弦與獨奏弦，合奏弦定弦音(低至高)為E、A、D、G實際音與記譜音一樣，聲音較為濃厚，獨奏弦定弦(低至高)為F#、B、E、A，實際音與記譜音高大2度，聲音較為清脆，本研究是使用合奏弦作分析，演奏時也是以合奏弦呈現。
全文共分三章，緒論為本研究的研究動機和研究方法，第一章創作背景為作曲家的出生背景作為研究的出發點，第二章曲式分析為探討樂章間的創作手法，第三章演奏詮釋為筆者對演奏上的練習與想法，最後結語為筆者的研究收穫。
Adolf Míšek(1875-1955), the Czech composer and the double bass player, composed the A major Double Bass Sonata op.5 in 1905. In his earlier composing career, the compositional style is learned from Antonín Dvořák(1841-1904). While subsequently, he was well known for his uniquely, elegantly, and feeling full typical Czech national music. In addition, Adolf Míšek is able to well demonstrate the extensive timbre of double bass.
The double bass include orchestra strings and solo strings. In which, the The standard tuning (low to high) of orchestra strings are E, A, D and G, and the The standard tuning of solo strings are F#, B, E and A, respectively. In solo strings, the sounding pitch and the notated pitch are exactly the same, and it sounds strong. While in solo strings, the sounding pitch distance sekunde bassa, therefore, it sounds crisp. In the present study, I analyze the case of orchestra strings. In the performance, orchestra strings are employed as well.
In this study, three chapters are included. In the preface section, I describe the motivations and methodologies of the present work. In the first chapter of this study, we present the background of Adolf Míšek. The second chapter illustrates the form and analysis for analyzing creative ways of different movements. The third chapter presents how the interpretations of Míšek inspire the author during the regular drill and formal performance. Last describes the conclusion remarks and the research achievements. |
