《彼得羅西卡》第一場景的動力進程

Abstract

史特拉汶斯基(Igor Stravinsky, 1882-1971)被稱為現代主義的作曲家之一，其作品經常予人停滯、片段和不連續等印象。但經由本論文分析《彼得羅西卡》(Petrushka, Petrouchka, 1911)第一場(first tableau)發現，樂曲中的「前進力與結束感」，或統稱「動力進程」(dynamic process)，是以節奏單元、音高旋律等要素建構而成的。其節奏單元的編排乃「從不規律到規律」的過程，符合「完型心理學」(Gestalt psychology) 的感知原則。除此之外，根據「旋律預期理論」(Implication-Realization theory)，部分樂段的音高設計符合「空缺填補」(gap-filling)原則。藉此，本研究從調性與音集和聲之外的音樂要素切入，期能提供理解《彼得羅西卡》動力進程的其他面向。

Works of Igor Stravinsky are usually considered as featuring stasis, fragmented and disintegrated, and hence is one of composers of musical modernism. In his ballet Petrushka (1911), however, he deviates this surface features, and instead establishes a new dynamic. With an analysis of the first tableau of Petrushka, this thesis proposes that a sense of ‘progression and closure’ or ‘dynamic process,’ is established through rhythmic cellular groupings and melodic structure, rather than through pitch organization. Stravinsky creates a special sense of ‘dynamic process,’ achieved not through tonal progression, but through manipulation of cellular groupings in relation to degrees of order. Tension and release in this process may be explained through Gestalt psychology. In addition, they may be also explained based on the gap-filling principle in terms of melodic structure.