莫札特《長笛與豎琴協奏曲，K.299》中“對話風格”之探討

Mozart's Style Dialogue, as Exemplified in the Concerto for Flute, Harp and Orchestra, K. 299

10.7118/JHSS.200906.0051

宋秀娟(Hsiu-Chuan Sung)

莫札特 ； 對話風格 ； 長笛與豎琴協奏曲 ； style dialogué ； Mozart ； Concerto for Flute ； Harp and Orchestra

人文暨社會科學期刊

5卷1期（2009 / 06 / 01）

51 - 66

繁體中文

莫札特在西洋音樂史上最大的貢獻之一，乃奠定協奏曲形式。在他的協奏曲中蘊藏豐富「對話風格」之內涵。《長笛與豎琴協奏曲，K. 299》因著有兩種獨奏樂器，及其在巴黎獨特的創作背景等因素，使本樂曲中獨奏樂器與樂團，以及兩種獨奏樂器之間有更精彩的「對話」情節產生。本研究爲莫札特《長笛與豎琴協奏曲，K.299》中「對話風格」之探討，除了「緒論」外，其內容架構爲：1.莫札特協奏曲中與「對話風格」有關之論述的歸納；2.「對話風格」在巴黎獨特的創作背景，以及「沙龍」聚會對「對話風格」的影響等；3.樂曲中運用「對話風格」創作手法之分析；4.演奏與詮釋之探討，即以樂曲中「對話風格」之分析的結果進一步討論演奏與詮釋內容；5.結論。

W. A. Mozart (1756-1791) is considered a major contributor to the concerto style in the Classical era. There are many splendid style dialogué passages within his concertos, one of which is the Concerto for Flute, Harp and Orchestra, K. 299. The purpose of this study is to discuss Mozart's style dialogué within this work from both compositional and aesthetic perspectives. The discussion includes (1) the general compositional approach of Mozart's style dialogué; (2) the unique composing environment in Paris; (3) an analysis of the style dialogué within this work; (4) an interpretation of the performance practices; and (5) the conclusion.

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