| 题名 |
小提琴「十度雙音」之探討－從巴洛克時期至伊撒意《六首無伴奏小提琴奏鳴曲，作品27》 |
| 并列篇名 |
The Study of Tenths on the Violin - from Baroque to Ysaÿe's Six Sonatas for Violin Solo, Op. 27 |
| 作者 |
趙恆振(CHAO,Vincent Heng-Chen) |
| 关键词 |
伊撒意 ； 易沙意 ； 十度雙音 ； 小提琴無伴奏 ； 無伴奏奏鳴曲 ； Ysaÿe ； Tenths ； Violin Solo ； Unaccompanied Violin |
| 期刊名称 |
關渡音樂學刊 |
| 卷期/出版年月 |
33期（2021 / 02 / 01） |
| 页次 |
1 - 23 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
「十度雙音」為小提琴慣用雙音中音程最遠、表現張力最大的組合。由於左手手指間隔最遠，難度甚高，對演奏者技巧而言向為極大的挑戰。觀察史上小提琴作品，十度雙音的使用首見於巴洛克時期之羅卡泰里在1733年發行的《小提琴的藝術，作品三》，而後經過歷代小提琴家的實驗及開發，至帕格尼尼於1820年發行的《二十四首綺想曲，作品一》中達到階段性的高峰。之後百年間的作曲家雖於小提琴作品中多有運用十度雙音，但皆未能超越帕格尼尼的範疇，直至伊撒意於《六首無伴奏奏鳴曲》中，以各種手法展現十度雙音，使其有了新的面向及突破性的發展。伊撒意（Eugène Ysaÿe, 1858-1931）是位兼具小提琴演奏家與作曲家雙重身分的重量級比利時音樂家。他於1924年完成代表作《六首無伴奏小提琴奏鳴曲，作品27》，作曲手法明顯地受到巴赫、德布西、法朗克等作曲家影響，並融入承襲自比法小提琴學派維尼奧夫斯基、維歐當等演奏大師的精湛技術。伊撒意在寫作手法上融入嶄新的思維，呈現出有別於過往不同的變化與高度的技術性，例如在雙音的運用上，從傳統的三、六、八度音程，轉移到一、二、四、五、七、十度等音程，除打破傳統小提琴演奏的和聲習慣之外，更使得聽眾產生前所未有的聽覺感受。伊撒意的風格與美學平衡了前代作曲家偏重音樂，或是偏重技巧的創作局面，堪稱繼巴赫與帕格尼尼之後，最重要的無伴奏小提琴作品。本文即以小提琴「十度雙音」為研究主題，並舉出巴洛克時期至伊撒意《六首無伴奏奏鳴曲》等重要作品為例，說明各時代作曲家與伊撒意於樂曲中如何巧思安排「十度雙音」的運用以及各種展現的手法，使得這項技術別具意義，不再僅是炫技的工具。 |
| 英文摘要 |
The double-stops are important skills to learn for every violinist, and the study of tenths is considered one of the most challenging techniques. The use of tenths on the violin was first experimented with by Baroque violinist/composer Locatelli in 1733, and reached its historical height by the legendary virtuoso Paganini around 1820. However, it was Ysaÿe who not only explored the full possibility, but also raised it to new horizons through his masterful employment of the tenths through his crowning achievement ＂Six Sonatas for Violin Solo, Op. 27＂. The first thing that strikes anyone approaching Eugène Ysaÿe's Six Sonatas for Solo Violin, Op. 27, whether the listener or the player, is its dazzling virtuosity. In fact, the violin's technical limits are pushed so far that the player has to forge a dedicated technique for the music, particularly in the use of double-stops, in which the composer experiments the use of fourths, fifths, octaves and tenths in addition to the traditional ones such as thirds and sixths. Ysaÿe's sonatas also set a new standard by which to judge violinists' artistic prowess. This paper provides the study of tenths on the violin, starting with notable examples of Locatelli, Paganini's works, and concluding with Ysaÿe's Six Sonatas, which represents understanding of the instrument to a level still unmatched and a bridge into modern era practices. The technical difficulty surrounds these works, while perhaps warranted, does not need to deter young students from playing such repertoire. It is the researcher's intention to provide an in-depth study of the tenths on the violin by using excerpts from Baroque to Ysaÿe's Six Sonatas for Solo Violin, Op. 27, and hereby to share artistic insights, pedagogical suggestions and overall views with those who are interested. |
| 主题分类 |
人文學 >
藝術 |
| 参考文献 |
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