法式庫朗舞曲與義式庫朗舞曲：巴洛克時期的音樂移動

Abstract

舞曲組曲是巴洛克時期最具代表性的樂種之一，常包含一系列相同調性的舞曲，其中庫朗舞曲盛行於十六世紀晚期到十八世紀的歐洲，大約在十七世紀後半，出現「法式庫朗舞曲」和「義式庫朗舞曲」這兩種非常不同的類型。當今的百科全書與辭典大多將庫朗舞曲一分為二地介紹，然而目前仍存在著兩者混淆不清的情況，光靠標題或拍號來區分兩者亦不太可靠。本研究聚焦在庫朗舞曲發展後期的兩個分流，透過文獻爬梳與作品檢視，除了將探究庫朗舞曲的流變以及法式庫朗舞曲和義式庫朗舞曲形成的歷史脈絡，還將以此作為切入點，橫向剖析義法之外的作曲家們如何解讀，並揭示法式與義式庫朗舞曲在現今德、奧一帶發展的獨特性。研究發現德奧作曲家們運用了不同的策略來區分法式庫朗舞曲與義式庫朗舞曲，其作品中也不乏兼具法、義元素的庫朗舞曲，呈現出風格的雙重性與模糊性。庫朗舞曲的音樂移動，展現在樂種風格的可更新性與作曲家們的多元解讀，從庫朗舞曲的探索中見微知著，不啻為熱鬧精彩的晚期巴洛克，提供了另一種觀看的方式。

The courante is a dance and instrumental form which flourished in Europe from the late sixteenth century to the mid-eighteenth century, often as a movement of a suite. By the early seventeenth century it was a popular dance in both France and Italy and by the end of the century there existed two distinct types: the French Courante and the Italian Corrente. Most encyclopedias and dictionaries introduce them dichotomously. However, there is still confusion between the two, and it is not reliable to distinguish them merely by the title or time signature. This study inquired into the evolution of dance suite and historical context of Courante and Corrente. It also examined German/Austrian music as a third, differing perspective, exploring the ideas of composers, such as Froberger, Biber, Muffat, Pachelbel, Erlebach, Mattheson, Bach, and Telemann. Through document analysis and detailed analysis of musical form, metrical rhythm and manuscript markings, this study illuminated the uniqueness of each composer in the writing of courantes, in which they adopted varied strategies for dealing with French and Italian styles. Stylistic duality and ambiguity seemed to be a norm in their courante repertoire. Musical mobility of Courante and Corrente is thus manifested in the renewability of genre and style, and in the diverse interpretation by composers.