音樂中的聖母百花大教堂－杜法伊經文歌《Nuper rosarum Flores》探討

The Cathedral of Santa Maria del Fiore in Music-An Exploration of Dufay's Motet《Nuper rosarum flores》

10.29873/GMJ.200612.0006

沈裕祁(Yu-Chi Shen)

音樂與建築 ； 凝結的音樂 ； Nuper rosarum flores ； 聖母百花大教堂 ； 數字的象徵性 ； Music and Architecture ； Frozen music ； Nuper rosarum flores ； The Cathedral of Santa Maria del Fiore ； Number Symbolism

關渡音樂學刊

5期（2006 / 12 / 01）

123 - 155

繁體中文

杜法伊爲佛羅倫斯聖母百花大教堂奉獻禮而創作的四聲部等節奏經文歌《Nuper rosarum flores》，至今仍被多位音樂學者置於音樂與建築的領域討論之。然而，音樂與建築的理論最初立足於數理基礎上，主要運用支撐兩者法則的數字與比例來表達其共通性。本文將從音樂和建築相關理論著眼，進而論述十九世紀諸位學者對於音樂與建築的美學概念，最後，試圖將杜法伊的經文歌《Nuper rosarum flores》與聖母百花大教堂的相似面作一對應及分析，以文藝復興時代著重的人文主義及數理科學來對照樂曲建構的兩要素，即理性的「比例與數」和較爲感性的「象徵」爲基礎，以便闡明音樂作品中所擁有的建築構造、空間、象徵之意涵。

The four-voice isorhythemic motet《Nuper rosarum flores》was composed by Dufay, which used for dedication of the Cathedral of Santa Maria del Fiore in Florence. Up to the present, many musicologists still to lay up this work to discuss into the domain of music and architecture. Nevertheless, the theory of the music and architecture based on mathematical foundation, also using the numeral and the proportion expresses their commonness. This article will focus first on correlated theories of the music and architecture, and further expound the esthetics concept of the various scholars in the nineteenth century, finally, it will attempt through similar faces of Dufay's motet《Nuper rosarum flores》and the Cathedral of Santa Maria del Fiore to analyze. According to the humanism and the mathematical science of the Renaissance Ages to compare with the music construction, namely two essential factors: rational ”proportion and number” and perceptual ”symbol”, so as to expound the meaning of the architectural structure, the space and the symbol in this work.

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