The Italian Solo Cantatas with the Obbligato Instruments during the Later 17th and Early 18(superscript th) Centuries: A Literature Survey

十七世紀後期至十八世紀早期附有獨奏樂器的義大利獨唱清唱劇：曲目文獻之探究

10.30095/SYJH.200806.0001

蔡順美(Shun-Mei Tsai)

義大利清唱劇 ； 室內清唱劇 ； 附獨奏樂器之獨唱清唱劇 ； Italian Cantata ； chamber cantata ； solo cantata with obbligato instruments

中山人文學報

25期（2008 / 06 / 01）

1 - 23

英文

本論文針對羅馬地區作曲家創作附有伴奏樂器之義大利室內清唱劇的曲目文獻做通盤性的考究。研究內容包括配器、聲部與伴奏的素材關係、作曲家相互的風格影響，結果顯示女高音獨唱、二支小提琴和數字低音的曲目最多。作曲家最常選擇高音樂器如小提琴、長笛、小喇叭、雙簧管做爲獨奏樂器，僅有很少數缺是爲女低音、男高音或男低音獨唱而創寫的。義大利室內清唱劇首先盛行於羅馬地區，通常是此地區的貴族、顯赫家族或學會等聚會時必備的娛興節目，由於旋律強調展現炫技的華麗音樂，亦是當時演唱家開拓演唱生涯的重要機會。爾後獨唱清唱劇迅速流傳至歐洲其他國家，如英國、法國和德奧地區。

The study is a literature survey of the chamber cantatas for solo voice with the obbligato instruments and basso continuo during later 17th to early 18th centuries in Rome. The discussion contains the instrumentation of obbligato instruments, the relationships of the musical materials between voice part and the accompaniment, and style influences among the composers. It is found that the chamber cantatas for soprano, two violins, and basso continuo took the majority of their repertoire. Composers more often chose high pitch instruments, such as violin, flute or recorder. trumpet, and oboe than other instruments for the obbligato instruments. There are only very few numbers of works that were written for other voices, such alto, tenor, or bass. The works of the solo cantata with obbligato instruments provided a large numbers in the repertoire of the concerts in the aristocratic social entertainments, and academies in Italy, and soon influenced to other European countries, such as England, France, and Germany.

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