重探柴科夫斯基作品中的時間性：以第三號交響曲為例

Abstract

一直以來，有關柴科夫斯基（P. I. Tchaikovsky, 1840-1893）的音樂分析及相關文獻大多指出他的音樂創作素材常出現「大量反覆」之情形，抑或樂音進行有「發展失敗」、甚至「缺乏發展」的現象；但亦有學者指出他的音樂並非只有重複不變，而在旋律、音色、配器等音樂元素有豐富的遞變。 由於素材的重複與變化發展均是「時間性」（temporality）分析所處理的層面，且上述文獻提及的內容往往涉及「非直進時間」與「直進時間」，本論文使用Jonathan D. Kramer提出的時間性視角重探柴科夫斯基的作品，並以第三號交響曲（Symphony No. 3 in D Major, Op. 29）為例，觀察樂音進行中「衍變／存在」（becoming/being；嬗變／持恆不變）的現象。 本研究除了採用Kramer的時間性概念外，亦使用王育雯提出的「時間性二維向度分 析」（two-dimensional analysis of musical time）之方法，進行四個音樂層級（levels）與諸多音樂參項（parameters）的分析。音樂層級有音組層級（unit）、樂節層級（segment）、樂句層級（phrase）以及樂段層級（part）。音樂參項則涵蓋調性、和聲（包括和聲變化步調、和聲走向）、動機（包含動機節奏、動機拍位變化、動機起始音高、動機錯落方式、動機音程變化⋯⋯等）、單元長度、配器以及織度等十九個項參項，進而理解柴科夫斯基交響曲中變與不變的種種現象與具體細節。 從時間性分析結果得知，事實上柴氏作品中音組到樂段層級均有不少直進時間特質主導之參項；但另一方面，樂段層級之旋律輪廓以及線性分析的結果卻得出柴氏的大範圍旋律方向有曲折徘徊之情形——即較無目標導向之進行。也就是說，音樂參項在不同層級的表現，其變換與重複的情形皆同時並存，但以一種複雜交織的方式呈現。本研究透過時間性分析的重探，指出柴氏管弦樂作品中的素材在反覆與變化之具體過程，全面理解柴氏作品中不同的音樂面貌。

P. I. Tchaikovsky’s (1840-1893) works have been criticized for its “repetitive materials,” “failed development,” and “lacking in development”. However, some researchers have pointed out that his music is not just characterized by repetition, but that specific musical parameters including melody, timbre, and instrumentation actually develop distinctly.

Since musical repetition and change are related to temporality, this paper reassesses and reanalyzes the development section in Tchaikovsky’s Third Symphony (1875) from the perspective of “temporality,” particularly with regards to linearity and nonlinearity, musical processes that involve change and no change. In addition to utilizing Jonathan D. Kramer’s concept of “temporality,” this study also adopts a new method — “two-dimensional analysis of musical time,” proposed by Wang Yuh-Wen. This method involves analysis on the dimension of parameters as well as that of structural levels. Four different musical levels and various parameters in Tchaikovsky’s development section are analyzed in this thesis in order to better understand the time phenomenon in his orchestral works. The four levels are “unit level,” “segment level,” “phrase level,” and “part level”. Musical parameters analyzed cover aspects of “tonality,” “harmony,” (including harmonic rhythm and direction of harmony) “motive,” (including motivic rhythm, metric accent of each motive, motivic starting pitches, the displacement between each motive, and motivic interval changes, etc.,) “length,” “instrumentation,” and “texture.” As the results, there are many musical parameters that are primarily linear from the unit level to the part level in Tchaikovsky’s development section. However, the melodic contour of the part level and the results of linear analysis together show that the large-scale melodic outline has clear cyclical elements; that is, they display a lack of goal-oriented characteristics. By closely analyzing Tchaikovsky's orchestral works under the two dimensions mentioned above, this study clarifies the specific processes and combination of changing and/or unchanging in Tchaikovsky’s orchestral works, and builds a better understanding on his development techniques.