余亦湄鋼琴演奏會含輔助文件-從柴可夫斯基的《搖籃曲》到拉赫曼尼諾夫的「焦慮夢」: 精神分析作為音樂詮釋學

Abstract

摘要 本文以質疑一個失去寧靜的《搖籃曲》開始。在拉赫曼尼諾夫1941年改編自柴可夫斯基歌曲op. 16 no. 1《搖籃曲》的鋼琴獨奏曲中，在多降小調的A段以及多升大調的BC段之間轉換，形成了這個ABACA曲式。每次A段中所包含的前奏與間奏，就會有半音發展，直到連曲中典型的搖籃節奏都被全音階打斷；當半音再現時則看出其從斷斷續續而後又再度串連起來的樣貌，似乎隱約顯示出一種力量，而這種力量的扭曲與精神分析理論中「潛意識、前意識、意識」的隱喻結構相仿。為了進一步探究此方法論的基礎，本文多方交疊觀察精神分析、詮釋學、藝術研究與音樂研究等方法論及研究典範，繼而以佛洛伊德《夢的解析》的夢的分類與本曲參照：本曲A段中的半音代表著潛意識，期盼透過律動將能量宣洩、而BC段是前意識，期盼能安撫作夢者讓睡眠延續；這兩者拉鋸出「焦慮夢」的原型，其焦慮動能來源則可回溯作曲家身上。本研究經過使用精神分析與詮釋學方法觀察本曲，歸結出此「改編曲」有著一般「安可曲」為因應不同媒體、場合、及炫技之外的意義。在文學理論上，弗萊承襲亞里斯多德《詩學》整理出一完整的「文學原型」光譜，與史特拉文斯基提出的「音樂詩學」概念相類。本文則透過精神分析性的詮釋，得出此一特殊文類，作為創作及聆聽者的「前理解」，使音樂創作與理解的平台可以不斷往前推進。 關鍵字：拉赫曼尼諾夫、柴可夫斯基、搖籃曲、精神分析、音樂詮釋學

A lullaby is supposed to lull someone to sleep. However, In Rachmaninoff’s piano transcription of Tchaikovsky’s song “Lullaby” (op.16 no.1), it becomes a lullaby that disrupts the slumber itself—what other significance could this transcription carries, besides merely reproducing the original in another medium or for virtuosity’s sake? A similar kind of transcription can be seen in Dalí’s series of symbolic paintings on The Angelus of Millet, and he uses Lacan’s theory to develop his “paranoid-critical method” in elaborating his interpretation of The Angelus. Parallel to Dalí’s project, this paper proposes to interpret Rachmaninoff’s transcription in the light of Freud’s theory of dreams. Freud sees sleeping as desired by the preconscious, but disrupted when the subconscious generates too much excitement (“anxiety dream”). In the five sections of this piece, ABACA, B and C are shorter passages in major mode, signifying the preconscious’s desire for a sound sleep; in contrast, the gloomy chromatics within the interludes in A signify the subconscious: every time when language ceases, they grow rampantly. In the final A section, large-scale chromatics arouse to a whole-tone climax and break down the cradling itself: the overwhelming energy released by the subconscious overcomes the preconscious. But the anxiety is not completely exhausted, thus the dream resumes, with the chromatics haunting again. In interpreting this lullaby as a Freudian “anxiety dream,” this studies aims to explore the methodology of engaging psychoanalysis as musical hermeneutics. Keywords: Rachmaninoff, Tchaikovsky, lullaby, psychoanalysis, hermeneutics