古典與浪漫前期鋼琴前奏曲集之研究－歷史定位與風格演變之探討

Collections of Piano Preludes in the Classic and Early Romantic Eras-The Historical Place and Stylistic Study

10.29873/GMJ.201006.0006

林伶美(Ling-Mei Lin)

前奏曲 ； 前奏曲集 ； 性格小品 ； 即興音樂 ； 蕭邦 ； prelude ； prelude collection ； Chopin ； character piece ； improvised music

關渡音樂學刊

12期（2010 / 06 / 01）

129 - 155

繁體中文

前奏曲，就現代觀點，是可獨立演奏之性格小品，其重要指標是蕭邦二十四首前奏曲集（1839年）。根據某些音樂學者之論點，在此之前，前奏曲是演出正式曲目前的即興音樂，用以暖手，確立曲目調性，並藉此發揮演奏者的想像力與技巧。然而，並非每個人都能輕鬆勝任，因此前奏範例曲集便應運而生。大約自1770年起，音樂市場開始出版大量前奏曲集。這些曲集有的呈現傳統即興語法，有的則是注入新的創作想法以豐富前奏曲的表現力，使前奏曲從非正式的即興音樂成為自成一格的性格小品。本文擬探討創作於古典與浪漫前期（1770-1839年）之前奏曲集。除瞭解創作背景外，將選取其中十部作品，分析其調性排列、風格類型、與作曲手法等，並探討這些曲集如何影響蕭邦的創作。

Prelude is viewed as a genre of character pieces and as an independent concert one. The most important work was revealed in Chopin's 24 preludes, op. 28, in 1839. However, from some musicologists' points of view, originally, preludes were improvised as introductions to more substantial works that followed. The purposes were to try out the instruments, to prepare the performers and audience for the keys and characters of the programmed pieces. But not everyone has skill allowed for successful improvisation. Since 1770, there were plenty of prelude collections published. They served as models of preluding. Some of these collections presented the traditional syntax of improvisation, some infused new treatment, content, and idea to enrich the expression into preludes. It indicated a course that how the improvised prelude transformed into character piece. This article is going to discuss the prelude collections composed in Classic and early Romantic eras (ca. 1770-1839). In addition to examining the historical background, it is going to analyze the arrangement of tonality, style, genre, and compositional treatment of ten prelude collections chosen from these music, and how they influence Chopin's composition will be discussed as well.

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