巴洛克晚期裝飾奏風格探析－以泰勒曼第一號《教學奏鳴曲》慢板為例

The Ornamentation and its Style of Late Baroque Music: Taking the Adagio Movement of Sonata Prima from Telemann's "Methodical Sonatas" as Example

梁益彰(Liang, Yi-Chang)

裝飾奏 ； 泰勒曼 ； 《教學奏鳴曲》 ； 修辭學 ； 情感論 ； Ornamentation ； Telemann ； Methodical Sonatas ； Rhetoric ； Affektenlehre

關渡音樂學刊

38期（2024 / 09 / 01）

33 - 57

繁體中文;英文

巴洛克音樂以修辭學為基礎，強調情感的傳遞，視音樂為一種近似演說的說服藝術。透過對演奏中的重要元素－裝飾奏之深入研究，探討當時的音樂美學，以及其在情感表達中的關鍵功能和意義。尤其對於器樂演奏者而言，在沒有歌詞的情況下，裝飾奏能夠豐富音樂情感，同時凸顯演奏者的音樂品味和獨特風格，成為演奏中不可或缺的即興元素。本次研究以巴洛克時期著名作曲家格奧爾格．菲利普．泰勒曼的第一號《教學奏鳴曲》中的慢板為探討對象，並參照同時期長笛演奏家約翰．姚阿幸．況茲在《長笛演奏指引》中的論述。藉由分析裝飾奏在樂曲中的功能及應用，以及其對情感傳遞的重要影響，期望能夠對巴洛克音樂有更深入的理解。

Rooted in rhetoric, Baroque music places a strong emphasis on conveying emotions, likening music to a persuasive art similar to oratory. Our exploration into the aesthetics of Baroque music centers on an in-depth study of a vital performance element - ornamentation. This study aims to unravel the pivotal role and significance of ornamentation in emotional expression within Baroque music. Particularly for instrumental performers, ornamentation enriches the emotional palette of the music, concurrently showcasing the musician's unique musical taste and style. It becomes an indispensable improvisational element in the absence of lyrics. Focusing on the Adagio of Sonata Prima from the renowned Baroque composer Georg Philipp Telemann's "Methodical Sonatas," and drawing insights from the influential treatise "On Playing the Flute" by contemporary flutist Quantz, our research analyzes the function and application of ornamentation in musical composition. By delving into its impact on emotional expression, we aim to deepen our understanding of the intricacies of Baroque music.