陳奎諭鋼琴演奏會含輔助文件從寫給鋼琴的《四首練習曲，作品7》( Four Etudes, Op.7 ) 探討史特拉汶斯基早期創作特徵

Abstract

史特拉汶斯基為二十世紀最偉大的作曲家之一，他的創作不斷地走在時代的前端，運用大膽前衛的設計向傳統的音樂風格挑戰。本論文所研究的主題《四首練習曲，作品7》為作曲家早期俄羅斯時期的作品，也是創作生涯中唯一的一組鋼琴練習曲。筆者透過本作品觀察出某些作曲家在此時期獨特的創作手法：史克里亞賓的模仿、同音型反覆以及小節線與節奏型態的藩籬等特徵；而筆者也將於本論文中一一分析並探討史特拉汶斯早期俄羅斯時期的創作特徵，並與作曲家同時期之作品交互比較其節奏、樂念以及各種特有素材之來源與運用，期望對本作品的創作背景做一個較為全面重點式的研究。

As one of the greatest composers in the twentieth century, Stravinsky, who utilized daring forward approaches challenging traditional music styles, was on the cutting edge. The subject of this paper, 《Four Etudes, Op.7》, was composed in his early Russian period, and also served as the only set of piano etudes in his career. Through this work, the author has discovered some of Stravinsky’s distinct techniques featured specifically in this period, such as imitation on Scriabin’s compositional style, the use of repetition on the same figures, and the displacement between bar lines and rhythmic patterns. These features are discussed individually here in this thesis, and through making comparisons with other same period works of Stravinsky’s, in rhythmic structure, musical conception, and other compositional elements, the author seeks for a better understanding on the contextual background to this work.