黃郁芳鋼琴演奏會含輔助文件 探索舒曼《交響練習曲》補遺五作與十二首練習的對話

Abstract

《交響練習曲》共經歷了四次出版，在第四版中克拉拉及布拉姆斯將舒曼手稿中未被發現的五首變奏以附加的方式加以出版，因而形成此曲在彈奏上對於各段變奏順序安排上的差異。 本文將著重在分析每首練習及變奏過後，探討其中的相關性，進而將十二首練習及五首變奏作結合。同時，在經過分析的過程更加了解舒曼的音樂語彙及特色。 本文除了前言及結語共分為三個章節，第一章說明舒曼的音樂特色以及《交響練習曲》的創作背景；第二章為分析十二首練習的變奏手法；第三章則為分析五首變奏以及探討在本人所選擇的編排方式中，十二首練習及五首變奏的相關性。

Symphonic Etudes was published four times. In the fourth edition, Clara and Brahms published five variations which were undiscovered before in Schumann’s autograph of twelve etudes. That is why there are many differences in the performance order of the pieces in this work. After observations made on each number, this thesis will focus on investigating the relationship between the original etudes and these added variations, in order to reach a rationale in combining the twelve etudes and five variations. Meanwhile, understanding Schumann’s musical language and characteristic becomes easier after such study. This paper is divided into three chapters: the first chapter explains the features in Schumann’s music as well as the Symphonic Etude’s background; the second chapter looks closely into the twelve etudes; the final chapter not only looks into the five variations but also investigates the correlation between these etudes and variations in the present choice of order.