陳慧倫小提琴演奏會(含輔助文件：佩爾特的「鈴聲風格」之演奏與詮釋∼以《兄弟》為例)

Abstract

本文是以愛沙尼亞作曲家佩爾特自創的「鈴聲風格」為研究對象，探討佩爾特於1980年改寫給小提琴與鋼琴的《兄弟》的演奏表現。試圖藉由瞭解佩爾特的生平創作、自創的「鈴聲風格」之創作靈感的由來、創作的理念、基本架構，以及佩爾特本身對此風格的詮釋及看法，透過寫給小提琴與鋼琴的“兄弟”一曲的樂曲結構與戲劇性張力的分析，尋得理想合適的音樂表現。

This paper is focused on the music of the Estonia composer Arvo Pärt and his “tintinnabuli style,” as demonstrated in “Fratres” for violin and piano(1980). This paper documents the aesthetic origins and compositional philosophy of Pärt's music, accompanied with a detailed analysis of the stylistic practice and musical structure of “Fratres.”