蕭斯塔科維契《第一號大提琴協奏曲》作品107 之樂曲分析與演奏詮釋

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Title:	蕭斯塔科維契《第一號大提琴協奏曲》作品107 之樂曲分析與演奏詮釋 An Interpretation and Analysis of D. Shostakovich’s Cello Concerto No.1, Opus 107
Authors:	周佩璇 (CHOU, PEI-HSUAN)
Contributors:	音樂學系
Keywords:	蕭斯塔科維契第一號大提琴協奏曲作品107樂曲 Shostakovich Cello Concerto No.1 Opus.107
Date:	2018
Issue Date:	2019-05-15 11:17:19 (UTC+8)
Abstract:	德米特里‧蕭斯塔科維契 (Dmitri Shostakovich, 1906-1975)為20世紀蘇聯最偉大的音樂家之一，本論文以他的《第一號大提琴協奏曲降E大調Opus.107》（Cello Concerto No.1 in E-flat major, Opus.107）為例，藉由相關資料收集與樂曲背景和結構的分析研究中，了解蕭氏在蘇聯獨裁者統治時，受到的威嚇與限制之下，在創作此曲時所留下的線索，探討當中的細節。認識作曲者所苦心維護、或跳脫古典傳統的創作手法，了解此曲的創作背景和創作手法後，經由反覆預備演奏詮釋時所獲得的啟發，和討論實際練習時所遇到的挑戰。全文研究共分為五章：第一章為緒論，闡述說明研究動機與目的、研究範圍與研究方法。第二章為創作背景，從蕭斯塔科維契的生平了解其音樂的創作手法。第三章為《第一號大提琴協奏曲》之樂曲分析。第四章為《第一號大提琴協奏曲》之演奏詮釋。第五章為結語，整理及歸納以上四章內容做為筆者心得與結語。 Dmitri Shostakovich is one of the greatest musicians of the 20thcentury and The Cello Concerto No.1 in E-flat major, Opus. 107” is the primary example which is used in this thesis. After analyzing the interpretation and structure of Shostakovich’s music, we’ve found many important traces for his music creation in the era of Soviet dictatorship, which relied on intimidation and restriction to the people, and we are going to explore and discuss this composition through analysis and research. After knowing Shostakovich’s persistence to the music and compositional background and techniques that are completely not following his predecessors in music, I was deeply inspired by Shostakovich after repeatedly playing this concerto. In the thesis, I will address the challenges that I’ve faced after my practical practices. This thesis is divided into 5 chapters: The first chapter is Introduction, focus on the research motivation and purpose, scope of study and research methods. The second chapter gives the outline of the background about the concerto, also includes some historical incidents of Shostakovich’s career and compositional techniques. Chapter 3 is focused on analysis of his music. Chapter 4 is the performance Insight and the interpretational ideas of this concerto. Chapter 5 is the conclusion, collation and induction.
Appears in Collections:	[Department of Music ] Thesis

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