「丑角劇之爭」─18世紀中葉法國音樂生活與音樂評論的形成

Abstract

發生於1752年至1754年的「丑角劇之爭」（Querelle des Bouffons）是法國音樂史上的重要論戰，參與者試圖比較法國與義大利歌劇的優劣並分裂成支持以上兩國音樂的陣營。在論戰中，百科全書派文人（encyclopedist）藉由印刷小冊子提倡哲士作為音樂評論人的角色，並教導公眾何謂好的音樂品味。此外，音樂評論（musical criticism）也在此爭論期間成為需要具備專業智識的寫作，並吸引來自各種社會階層的作者形成不同以往的讀者社群。 本論文以「丑角劇之爭」前期（1752年1月1753年11月）出版的小冊子為主要材料，探討爭論文本中書寫策略的運用，指出此爭論期間產生的部分文本改變了音樂生產在舊制度法國所代表的國家威權展演，以及上流社會掌握品味霸權的地位。同時，筆者也藉由梳理小冊子文本之外的資訊分析爭論參與者的身份組成，以及這些資訊所透露的知識生產與流通環境。透過以上分析，本論文企圖勾勒並補充既有研究未及處理的「丑角劇之爭」在公共領域中可能的傳播情況，以及重新檢視此爭論在舊制度社會下的意涵。

Between 1752 and 1754, a fierce debate on French music history called Querelle des Bouffons was going on, where participants tried to compare the relative merits of French opera and Italian opera and finally split up into two groups. During the debate, the encyclopedists promoted philosophes to the role of musical critics through pamphlets, and intended to instruct the taste of music to the public. Eventually, musical criticism became a genre with professional skill and attracted authors from various social classes, forming a musical readership which was different from the past. This thesis will analyze the writing tactics of the pamphlets during the first phase of Querelle des Bouffons (January, 1752 – October, 1753), and show some of these texts changed the discourse of taste and the power relationship of musical production in Ancien Régime. Also, the paratext of these pamphlets and the social class of the authors will help us to clarify the circulation of printing works in the age of Enlightenment (in this case, critical and satirical pamphlets). Eventually, this thesis attempts to outline and supplement the existing research, which neglects the possible spread of Querelle des Bouffons in the public sphere, as well as re-examine the meaning of this debate under the Ancien Régime society.