李佳芸長笛演奏會含輔助文件：貝里歐《序次Ⅰ》兩個記譜版本之作曲意圖與演奏實務探討

Abstract

貝里歐於1958年寫成的長笛獨奏曲《序次 I》，開發出長笛新的聲音色彩與技巧的極限，在二十世紀經典曲目中占有一席之地。原曲採用空間記譜法寫作，但因演奏詮釋等因素，貝里歐在1992年加寫了實際音值的傳統記譜法版本。本研究首先針對樂曲基本架構、動機音型做分析，再由音群與節奏切割、音值、延音記號及運音法等方面比較1958年與1992年二版本記譜法之異同。最後探討此二版本之作者意圖與實際演奏之關係，並尋問其中艾柯所謂「開放性作品」的前衛形式似乎回歸到傳統記譜典範的意義。

Luciano Berio’s Sequenza I (1958) for flute solo is an exploration in new sound world and technical frontier, and establishes itself as a 20th-century classical repertoire. Since the original spatial notation with proportional duration could not safeguard adequate interpretation of the work, Berio revised it with conventional rhythmic notation in 1992. After a formal analysis of the piece, this study compares the two versions in regard of rhythmic duration and grouping, fermatas, and articulation. Finally, it examines the correlation between compositional intention and performance practice, and discusses the significance of the seemingly return of the avant-garde form of the Ecoan “open work” to the traditional notation paradigm.