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    Please use this identifier to cite or link to this item: http://ir.cnu.edu.tw/handle/310902800/23774

    標題: 由巴哈的融合創作特性探討三首低音維奧爾琴奏鳴曲之融合藝術
    Integrated Art in Bach's Compositions: Bach's Three Sonatas for viola da gamba and obbligato harpsichord
    作者: 陳如萍
    貢獻者: 通識教育中心
    關鍵字: 巴哈
    Viola da Gamba
    Integrated Art
    日期: 2010
    上傳時間: 2011-05-18 11:58:28 (UTC+8)
    摘要: 巴哈(Johann Sebastian Bach, 1685-1750)的創作一向為學者們熱烈討論的對象,本文主要探究的樂曲—給低音維奧爾琴與大鍵琴的三首奏鳴曲(Thre Sonatas for viola da gamba and obbligato harpsichord, BWV 1027-29)不論在學術上或演奏領域皆佔有一席之地。在學術討論中不乏針對創作背景、年代、手稿與詮釋……等做各項的研究,部分結果具有一定的貢獻,但有些卻因缺乏證據上的支持,引發各方的說法而難逃無疾而終的命運。對此研究上的窘境,筆者認為或許可自更具包容性的角度來看待樂曲:「融合」已是學術上公認的巴哈創作特色之一,巴哈擅長運用不同的曲種、風格與音樂素材,輔以自己熟稔的創作技法將其融合為一完整的藝術作品。
    The compositions of Johann Sebastian Bach (1685-1750) have always been intriguing subjects for scholars' fervent discussions. This paper primarily examined Bach's three Sonatas for Viola da Gamba and Harpsichord, BWV 1027-29 which have gained footholds both in the academic and performance domains. The academic discussions of these sonatas have entailed examinations of the background, time period, manuscripts, annotations and other aspects of the compositions. Partial results of the discussion are invaluable; however, a number of views, regretfully, have been dismissed due to the lack of supporting documentation. The author believes that to master such a quandary, perhaps taking a truly comprehensive approach to the compositions is required, as one of the academic recognitions of Bach's composing techniques is "integration." While Bach was tactful, he delighted in interweaving a variety of genres, styles and musical elements into flawless masterpieces.
    This paper first provided a general overview of the compositions' background and the time period. It subsequently presented a historical overview of the origin, characteristics of the Viola da Gamba and its comparison with the cello, as Viola da Gamba was a historical instrument which was regularly replaced by the cello in the present performances of these sonatas. Consequently, the central part of this paper was devoted to the examination of one of Bach's composing techniques: "integration." Moreover, this paper investigated how Bach utilized and transformed various musical elements and styles into a unique, ingenious and integrated creative art form in these three sonatas.
    關聯: 嘉南學報(人文類) 36期:p.758-772
    Appears in Collections:[嘉南學報] 36 期 (2010)
    [通識教育中心] 期刊論文

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