陳姵錡低音管演奏會含輔助文件：亨德密特《低音管奏鳴曲》之詮釋與分析

Abstract

德國作曲家保羅•亨德密特（Paul Hindemith, 1895-1963）將其崇尚傳統的音樂風格、創作手法，如巴洛克時期複音音樂及古典時期主音音樂的語法與曲式，結合現代音樂概念，成為二十世紀初「新古典主義」之代表。這首《低音管奏鳴曲》（Sonata for Bassoon and Piano）創作於1938年並於瑞士蘇黎世首演，此時期正值撰寫音樂理論專書《作曲指導》（Unterweisung im Tonsatz,1937-39）的亨德密特，將此理論專書中的中心音理論作為基礎，加上傳統古典時期之曲式結構，創作而成了這首新古典風格的作品。 本文透過亨德密特中心音理論的作曲技巧及古典音樂形式，探究亨德密特低音管奏鳴曲之創作手法。筆者將從各樂章的曲式架構、和聲發展以及動機型態等相關連結為基礎進行分析，嘗試了解亨德密特的創作手法及理念，期待筆者自己的演奏與詮釋能更貼近亨德密特的音樂意念。

The German composer Paul Hindemith (1895-1963) combines the concept of modern music with his adoration of traditional music, such as baroque polyphony, classic musical style and form of homophony, which made him the representation of Neoclassicism of the early 20th century. Sonata for Bassoon and Piano was composed in 1938 and made his debut in the same year in Zurich, while Hindemith sketched his theoretical book Unterweisung im Tonsatz published in 1939. In Bassoon Sonata, Hindemith utilized the theories in the Unterweisung im Tonsatz as the fundamentals for the composition. In addition of the usage in classical music form, this sonata is characterized as one of the favorite works in neoclassical style. This thesis approaches the subject of compositional techniques of Bassoon Sonata by using the theory of central tone and classical music. This analysis focus on form, harmonics and motives of each movements in order to understand the musical ideas of Hindemith’s creation, and interprets an approach close to the musical thoughts of Hindemith’s Sonata for Bassoon and Piano.