曲式分析

1. 曲式分析 Form and Analysis 嚴瑞祥主講

2. Fantasia in d minor, K. 397 W. A. Mozart

3. Introduction • 音樂 時間的藝術 • 音樂的 “論述過程”中 聆聽者關聯前後的音樂事件 • 音樂的意義 所有部份的交互關係而產生 • 音樂戲劇; 主角 • 連串個別瞬間或多或少程度不同的美 大型的結構下 每ㄧ瞬間意義

4. What is form in Music? –Wallace Berry • The sum of those qualities in a piece of music that bind together its parts and animate the whole. • The product of intellectual control over the musical ideas which bring a composition into existence. • A discipline through which the inherent power of the materials is realized and directed to an end that is convincing and seemingly inevitable.

5. Why Study form in Music? • 不僅在表象的區分作品的形式rondos, ternaries...曲式分析是所有 “音樂參與者” 極重要的經驗 • 傳統與創新的平衡 • 形式中 各部份的功能與需求 • 更深度的體驗欣賞音樂 • Response to emotional stimuli, at a primitive and innocent level, is by no means unimportant; but how much his experience deepens when he can participate intellectually as well • 音樂有其邏輯 理性的組織 其所有重要的細節都該被聽到且感受到

6. Tentative Schedule • 第一週 曲種Genre (型式的誤用)外型 Shape型式 Form • 第二週 Motive, Phrase(樂句)的和聲與旋律結構 • 第三週 Small Forms • 第四週 分析大型樂段 • 第五週 主題與變奏 • 第六週 主題與變奏 • 第七週 Ternary Form • 第八週 Rondo • 第九週 Binary form • 第十週 Sonata form • 第十一週 Sonata form • 第十二週 Further Aspects of Sonata form • 第十三週 Concerto • 第十四週 Concerto • 第十五週 Fugue • 第十六週 Fugue • 第十七週 特殊風格 • 第十八週 特殊風格

7. Textbook • Green, Douglass M. Form in Tonal Music: An Introduction to Analysis. New York: Holt, Rinehart and Winston, 1979 (second edition), 1965 (first edition). (Sometimes confusing and unclear, but good for complete terminology.)

8. References • Berry, Wallace. Form in Music: An Examination of Traditional Techniques of Musical Structure and their Application in Historical and Contemporary Styles. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1966. (Well-organized and thorough) • Caplin, William. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. London: Oxford University Press, 1998. • Kohs, Ellis B. Musical Form: Studies in Analysis and Synthesis. Boston: Houghton Mifflin Company, 1976. (Very wide variety of formal considerations are discussed in depth) • Spencer, Peter and Peter M. Temko. A Practical Approach to the Study of Form in Music. Prospect Heights, Illinois: Waveland Press, Inc., 1994. Originally published Englewood Cliffs, NJ: Prentice-Hall (Simon & Schuster), 1988. (Clear and consise. Perfect for undergraduate form classes. However, if you want thoroughness, go for Green or Kohs.)

9. 型式 Form • 調性的結構 • 即為和聲的安排 • ∥: Ⅰ→Ⅴ:∥:Ⅴ7→Ⅰ :∥ • 雖然兩個終止式外型幾乎完全相同, 僅音高不同, 卻有如此差異的結果, Ⅴ, Ⅰ→單一的和聲行程 • Ⅴ • Ⅰ Ⅰ (journey) • design: 2 parts • tonal structure, 1 harmonic movement

10. 型式 Form • 外型設計 • 調性的結構 • 連續二段體

11. Phrase(樂句)的和聲結構 • 樂句雖是音樂中很基本的單位, 但幾乎沒有精確的定義, 大致上 • 呈現某種程度的完成感 • 達到一個相對的repose

12. Phrase(樂句)的和聲結構 • 一般歌曲沒什麼問題. • 但器樂曲 Don Giovanni: Act I, Minuet 1:23 • 4mm, 5―8mm, • Ⅰ Ⅴ→Ⅰ • 不和諧和弦比和協和弦, →更有動力的, 不休息的.

13. Phrase(樂句)的和聲結構 • 一般歌曲沒什麼問題. • 但器樂曲 Don Giovanni: Act I, Minuet 1:23 • 4mm, 5―8mm, • Ⅰ Ⅴ→Ⅰ • 不和諧和弦比和協和弦, →更有動力的, 不休息的.

15. Small Forms • Binary (二段體) 與Ternary (三段體)許多“標準的”形式, 多年來已有通用的名子. 如Binary 與 Ternary指帶有二段與三段的型式, 可說精簡而實用, 但並未特別指明是哪一類的二段體與三段體. 我們必須加入調性的結構, 與段落間連續或區格的考量來真正劃分所指“Open”開放樂段是指和聲上未完成, 聽者期待要繼續, Closed封閉樂段是指合聲上的完成. • 一個調性結構, 引人期待要繼續的第一部份→是種"連續型式".continuous, 若第一段屬封閉樂段, 而加填樂段(sections)即是"間段型式".

16. Small Forms • 連續與分段 • 獨特的型式"Unique", 少數作品, 無法以標準方式分類, 稱"Unique". • Continuous Form • 連續型的二段體, 稱為Continuous binary form, 有三種標準型: 1. Simple 2. rounded 3. balanced

17. Small Form continuous • A~B Handel’s Blacksmith • A~BA Mozart Minuet 輪旋二段體 • A~A’ Bach Suite • A  B: A  B melodically, A  B :B  A tonally • Bach and Handel wrote balanced binary so often as their simple binary. Scarlatti

18. Small Form continuous • 何時第一段結束 如何分段 • 外型設計 • 何類型 • Haydn: Symphony 101, 3rd Mov • Beethoven, Sonata Op. 2 No. 1Score • Boccherini’s Minuet • Schumann: Melody • Chopin Prelude No. 20

19. Small Form sectional form 間格 (分段) 二段體 • Division by double harmonic movement • A - B Simple Sectional Brahms’ Cradle Song • A - BA Rounded Sectional Binary分段輪旋二段體 Haydn: Symphony 100, 3rd Mov. Compare 101, Boccherini’s Minuet • A - BA • A ~ BA

20. Small Form sectional form 間格 (分段) 二段體 • Haydn: Symphony 101, 4rd Mov. Theme • Schumann: Album for the Young, No, 6

21. Small Form Three- Part Form 三段體 A-B~A • Folksong: Drink to me only with thine Eyes • Statement, digression, restatement • The first part is harmonically closed • The second part by contrast is in the melody, texture, rhythm….., contrast in design. • Sectional • Compare between rounded sectional binary • B is strikingly contrast in relation to A

22. Small Form Three- Part Form 三段體 A-B-A • Schumann: Album for the Young, No, 8 • Statement, digression, restatement • The first part is harmonically closed • The second part by contrast is in the melody, texture, rhythm….., contrast in design. • Sectional • Compare between rounded sectional binary • B is strikingly contrast in relation to A

23. 分析大型樂段 6步驟 • 區分樂句與終止式的位置. • Single, double or triple harmonic movement • Cadence: presence or absence any divisive conclusive cadence • 注意樂句旋律, 分析其反覆與變異, 類似與差異的情形. • Motivic melodic: restatement is a recurrence after contrast, differs from repeat • 綜合以上, 決定是否有可能分段. • Graphic A~BA, A-B • 決定可能終結樂段的樂句, 檢查其後的樂句, 以確定不屬同樂段. • Sectional, continuous, full sectional • 檢查樂句的和聲內容. • 檢查樂段是否對稱.

24. 主題與變奏 • Sectional and continuous variation • A theme: elements • Handel suite No. 5 • Key: E • Mode: major • Form: simple continuous binary • Length • Basic tonal structure • I V-I/ of V ::I V-I • Tempo • Melody • Texture: homophonic, mostly four-part chordal style