陳品帆鋼琴演奏會 含輔助文件 史特拉汶斯基1924年的奏鳴曲：新古典主義與無形之手‪‎‬‬‬‬

Abstract

奏鳴曲可以說是十八世紀音樂曲種的代名詞，尤其在海頓、莫札特、貝多芬的發揚光大之下，成為了古典樂派具代表性的樂種。在十九世紀甚至二十世紀，奏鳴曲已經不再盛行的創作環境下，為何史特拉汶斯基仍然挑選奏鳴曲來作為素材?據史氏的助手敘述，從眾多草稿的標記來看，譜面上的指法似乎不單純只是給予演奏者的提示，是否作曲家對此還別有用心？

最後，此首奏鳴曲被創作的時間點，是處於一個經過了普法戰爭、一次世界大戰後所造成的環境氛圍。因此欲探討在音樂風格的流變上，是否因為經歷這些戰爭後，逐漸從極端個人主義的浪漫色彩，達到另一個較為回到古典時期、且更為集體化的思考行為模式。

While talking about classical music genre, sonata has been the representative of the 18th century for the greatest works of Haydn, Mozart and Beethoven. However, since it is no longer the most prevailing music genre in the 19th and 20th centuries, why Stravinsky still uses the genre of sonata as his main composing element? According to the marks from Stravinsky’s drafts and the statement from his assistant, the fingerings on the music book are not merely prompts for pianist to follow, but what are his intentions beyond this?

Furthermore, the social environment and atmosphere while composing the sonata is the postwar period of Franco-Prussian War and World War I. Therefore, the discussion is about whether the composing style gradually changed, from the extreme individualism and romanticism back to the classic collectivism behavioral model due to the experience of the two major wars.