跨越時間的維度： 拉威爾馬拉美詩歌〈嘆息〉之時間性研究

Abstract

過去對於拉威爾三首馬拉美詩歌（Ravel’s Trois poèmes de Stéphane Mallarmé, 1875-1937）中第一首樂曲〈嘆息〉（Soupir），許多學者深入的探究了文學與音樂、哲學與音樂之間的緊密關聯。並指出樂曲可能在受到哲學與文學的影響之下，於樂音的過程表現出不變、靜態的和聲發展（static harmonic progressions）、重覆（repetition）、停滯（stasis）等細節存在其中。 本文使用Jonathan D. Kramer所提出的時間性概念，對於上述〈嘆息〉中所存在的各種音樂表現進行深入探究，並且討論樂曲中各音樂元素所表現的「直進時間」與「非直進時間」之細節，觀察樂曲中變與不變之現象。 為能梳理出樂曲時間性的脈絡，本文使用王育雯教授所提出的「時間性二維向度分析法」（two-dimensional analysis of musical time）作為研究方法，透過層級（levels）與各類參項（parameters）進行分析。在分析時，本文將樂曲由小至大分成音組（unit）、樂節（segment）、樂句（phrase）、樂段（part）、全曲層級。音樂參項方面，則是分成單元長度、女高音音高、女高音節奏、織度、樂器音型、配器、音類集相關參項…等18種參項，以討論各種時間性細節與具體共存情形。 透過時間性二維分析法爬梳時間性脈絡之後可發現，〈嘆息〉內不同時間性不僅出現多種共存方式，且樂曲由第一樂段邁入其後的二個樂段時，主導時間性由非直進時間轉而偏向直進時間。同時，橫向旋律相關參項（與女高音聲部有關之參項）與縱向音高相關參項（例如音類集相關參項）兩者不一致的時間性歷程使樂曲以較中性的時間性特質來呼應象徵主義歌詞的意境。希冀本文能為〈嘆息〉這首樂曲帶來不一樣的時間性研究觀點，並以更全面的視角來探討樂曲的時間性。

Regarding Ravel's musical composition Trois poèmes de Stéphane Mallarmé, many scholars have explored its close relationship with literature and philosophy. They also point out that under the influence of philosophy and literature, music shows constant and static harmonic progressions, repetition, stasis, among other details. This study adopts the concept of temporality (including linear and nonlinear time) as proposed by Jonathan D. Kramer to explore the musical process in “Soupir.” Linear and nonlinear time as expressed through the phenomena of change and non-change in each musical element in the composition are identified. In order to pinpoint detailed temporality of music, this study applies the methodology “Two-Dimensional Analysis of Musical Time” proposed by Yuhwen Wang. This method involves analysis of different parameters and structural levels. Five musical levels and many parameters in “Soupir” are analyzed in this thesis in order to understand the time phenomenon in “Soupir.” The five levels are “unit level,” “segment level,” “phrase level,” “part level,” and “whole piece level.” This thesis also investigates 18 parameters such as rhythm, texture, dynamic, length, musical instrument, melodic contour etc. throughout the piece in order to observe temporality in detail. As a result, it can be found that different temporalities coexist in multiple ways: As the music proceeds from the first section to the second, dominant temporality also change from nonlinear to linear. In addition, the coexistence of different temporalities dominating parameters of the horizontal melody and vertical pitch (such as pitch class process) respectively results in an overall relatively neutral temporal characteristic, which echoes the symbolist style in the lyrics. With this study I hope to present a deeper understanding of Soupir’s temporality from a more comprehensive perspective.