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???org.dspace.app.webui.jsptag.ItemTag.dcfield??? | Value | Language |
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dc.contributor.advisor | 王育雯(Yuh-Wen Wang) | |
dc.contributor.author | Tian-Yan Feng | en |
dc.contributor.author | 馮天彥 | zh_TW |
dc.date.accessioned | 2021-06-17T07:29:19Z | - |
dc.date.available | 2022-12-31 | |
dc.date.copyright | 2019-07-04 | |
dc.date.issued | 2019 | |
dc.date.submitted | 2019-06-18 | |
dc.identifier.citation | 一、 中文部分
期刊 王育雯。2013。〈音樂時間與文化異質性:以1930 年代前後《雪梅思君》的不同錄音為例〉。《民俗曲藝》180: 1-43。 ———。2004。〈音樂現代主義、停滯感,與《春之祭》〉。《台大文史哲學報》61: 53-102。 二、 西文部分 專書、期刊 Abraham, Gerald. “The Elements of Russian Music”. Music & Letters, 9/1 (1928): 51-58. ———. “Tchaikovsky: Some Centennial Reflections.’’ Music and Letters 21/2 (1940): 110-19. Auerbach, Brent. “Tchaikovsky’s Triumphant Repetitions Block Composition as a Key to Dynamic Form in the Symphonies No.2 and 3,” Theory and Practice, 37/38 (2012): 63-109. Brown, David. “Balakirev, Tchaikovsky and Nationalism”. Music & Letters, 42/3 (1961): 227-241. ———. A Biographical and Critical Study: The Early Years, 1840-1874 (Vol. 1). W. W. Norton, 1980. ———. A Biographical and Critical Study: The Crisis Years, 1874-1878 (Vol. 2). W. W. Norton, 1983. ———. A Biographical and Critical Study: The Years of Wandering, 1878-1885 (Vol. 3). Gollancz, 1986. ———. A Biographical and Critical Study: The Final Years, 1885-1893 (Vol. 4). W. W. Norton, 1992. ———. Tchaikovsky: The Man and His Music. New York: Pegasus Books. Buchanan, Charles L. 1919. “The Unvanquishable Tchaikovsky”. The Musical Quarterly, 5/3 (2007): 364-389. Canarina, John. The New York Philharmonic: From Bernstein to Maazel. Hal Leonard Corporation, 2010. Christensen, Kenneth A. The Toscanini Mystique: The Genius Behind the Music. Indiana: Xlibris, 2014. Cooper, Gerald. “The Symphonies” in The Music of Tchaikovsky, ed. Gerald Abraham, 1974, 24-46. New York: Norton. Forte, Allen. “New Approaches to the Linear Analysis of Music.”In Journal of the American Musicological Society, Vol. 41, No. 2 (1988), 315-348. Hepokoski, James and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth- Century Sonata. Oxford and New York: Oxford University Press, 2006. Holden, Anthony. Tchaikovsky: A Biography. New York: Random House, 1995. Jackson, Timothy L. “Aspects of Sexuality and Structure in the Later Symphonies of Tchaikovsky,” Music Analysis, 14/1 (1995): 3-25. ———. Tchaikovsky: Symphony No. Six (Pathétique). Cambridge University Press, 1999. Knapp, Raymond. “Passing: And Failing: In Late-Nineteenth-Century Russia; Or Why We Should Care about the Cuts in Tchaikovsky’s Violin Concerto.' 19h-Century Music 26 (2003): 195-234. Kramer, Jonathan D. The Time of Music. New York: Schirmer Books, 1988. Kraus, Joseph. “Tchaikovsky.” In The Nineteenth-Century Symphony, ed. D. Kern Holoman, 1997, 299-326. New York: Schirmer. Laroche, Hermann. “The concert on 11 August at Pavlovsk, Tchaikovsky's Manfred and Hamlet”. In Russians on Russian Music, 1880–1917, Cambridge and New York: Cambridge University Press, 2003. Layton, Robert. A Guide to The Symphony. New York: Oxford University Press, 1995. Poznansky, Alexander. “Ralph C. Burr and Jr. Tchaikovsky's Suicide: Myth and Reality”. 19th-Century Music, 11/3 (1988): 199-220. ———. Tchaikovsky: The Quest for the Inner Man. New York: Schirmer, 1991. Smith, Nigel. “Perceptions of homosexuality in Tchaikovsky criticism”. Context: Journal of Music Research, No. 4 (1992): 3-9. Taruskin, Richard. Defining Russia Musically. Princeton University Press, 2001. ———. On Russian Music. University of California Press, 2008. ———. “Non-Nationalists and Other Nationalists”. 19th-Century Music, 35/2 (2011): 132-143. Taylor, Benedict. “Temporality in nineteenth –century Russian music and the nation of development,” Music & Letters, 94/1 (2013): 78-118. ———. The Melody of Time. Oxford University Press, 2016. Wang, Yuhwen. “Expressiveness in the Pre-modern Performance Style of Chinese Music: ‘Equanimity’ in Abing,” Asian Music 41/1 (2010): 127-65. Warrack, John. Tchaikovsky. C. Scribner's Sons, 1973. Westrup, Jack A. “Tchaikovsky and the Symphony”, The Musical Times, 81/1168 (1940): 249-252. Willey, Roland. Tchaikovsky. Oxford University Press, 2009. Zajaczkowski, Henry. Tchaikovsky’s Music Style. London: Umi Research Press, 1987. ———. “Tchaikovsky’s feelings”. The Musical Times, 133/1972 (1992), Choirs and Trends: 276. 樂譜資料 Tchaikovsky, Peter Ilyitch. 1875. Symphonie No.3. Moscow: P. Jurgenson, n.d. 1877. Plate 2982. Reprint: Moscow: Gosizdat Muzsektor, 1928. Plate Г.M. 8135 И.M. Tchaikovsky, Peter Ilyitch. 1875. Symphonie No.1-3. Moscow: Muzgiz, 1946. Plate. Reprint: Symphonies Nos.1, 2 and 3 in Full Score Mineola: Dover Publications, 1992. Beethoven, Ludwig van. 1807-08. Symphony No.5. Leipzig: Ernst Eulenburg, n.d.[1938]. Reprint: Fourth and Fifth Symphonies in Full Score (pp.125-260) New York: Dover Publications, 1976. Beethoven, Ludwig van. 1807-08. Symphony No.5. Arr. Otto Singer II. Symphonien für Klavier zu 2 Händen, Vol.1, Leipzig: Edition Peters, n.d.(1906). Plate 9008. | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/73339 | - |
dc.description.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。 | zh_TW |
dc.description.abstract | 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. | en |
dc.description.provenance | Made available in DSpace on 2021-06-17T07:29:19Z (GMT). No. of bitstreams: 1 ntu-108-R04144002-1.pdf: 67373870 bytes, checksum: 8da4caa1dc1a2658d314cffddd0c88e4 (MD5) Previous issue date: 2019 | en |
dc.description.tableofcontents | 第一章 緒論 13
第一節 研究動機 13 第二節 文獻回顧 14 第三節 研究主題、對象 20 第四節 研究方法 26 第二章 柴科夫斯基第三號交響曲第一樂章發展部樂曲分析 35 第一節 各層級定義及單元劃分 35 音組(unit)層級定義與單元劃分 36 樂節(segment)層級定義與單元劃分 40 樂句(phrase)層級定義與單元劃分 43 樂段(part)層級定義與單元劃分 44 第二節 分析步驟與結果 45 「音組層級」具體分析步驟說明 45 「樂節層級」具體分析步驟說明 59 「樂句層級」具體分析步驟說明 75 「樂段層級」具體分析步驟說明 84 第三節 柴三各層級中的時間性 92 第三章 分析對照:貝多芬第五號交響曲第一樂章發展部樂曲分析 95 第一節 各層級定義及單元劃分 96 音組(unit)層級定義與單元劃分 96 樂節(segment)層級定義與單元劃分 99 樂句(phrase)層級定義與單元劃分 101 樂段(part)層級定義與單元劃分 104 第二節 分析步驟與結果 104 第三節 貝五各層級中的時間性 131 第四章 兩首交響曲之發展部時間性比較 135 第一節 兩首交響曲各層級的時間性分析結果比較 135 第二節 線性分析(Linear Analysis)的發現 140 第五章 時間性分析貢獻與結論 145 第一節 柴氏的時間性分析結果與既有研究之關係 145 第二節 時間性分析貢獻 149 第三節 未來研究 152 參考資料 153 附錄 柴三與貝五發展部層級劃分與和聲分析 157 | |
dc.language.iso | zh-TW | |
dc.title | 重探柴科夫斯基作品中的時間性:以第三號交響曲為例 | zh_TW |
dc.title | Time in Tchaikovsky’s Music: Third Symphony in D Major, op.29. | en |
dc.type | Thesis | |
dc.date.schoolyear | 107-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 郭瓊嬌(Kheng K. Koay),陳希茹(Hsi-Ju Chen) | |
dc.subject.keyword | 柴科夫斯基,第三號交響曲,音樂時間性,直進,非直進,「時間性二維向度分析」, | zh_TW |
dc.subject.keyword | Tchaikovsky,Third Symphony,Temporality,Linear,Nonlinear,“Two-Dimensional Analysis of Musical Time”, | en |
dc.relation.page | 174 | |
dc.identifier.doi | 10.6342/NTU201900937 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2019-06-19 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 音樂學研究所 | zh_TW |
Appears in Collections: | 音樂學研究所 |
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