舒伯特《流浪者幻想曲》之探討

• Main Authors: Yi-Ting Wang, 王一婷
• Other Authors: Fung-Yin Huang
• Format: Others
• Language: zh-TW
• Published: 2008
• Online Access: http://ndltd.ncl.edu.tw/handle/15591873144228178479

碩士 === 國立高雄師範大學 === 音樂學系 === 96 === Franz Schubert’s piano works were composed roughly from 1811 to 1828, which took him about eighteen years. The “Wandererfantasia” was composed in November 1822 by Schubert, and it’s inspiration came from the lied “Der Wanderer” composed by Schubert in 1816. Besides the motto-theme of each movement comes from the dactylic rhythm of the piano part in the lied “Der Wanderer”, the theme used in the six- section thematic variation of the second movement also derives from the melody of the lied “Der Wanderer”. From the 19th century, fantasia has become more diversified. The combination of fantasia and sonata is the main compositional style in the Romantic period. Although the “Wandererfantasia” is defined as a fantasia, it is a fantasia combined with sonata form. The whole piece includes four movements, and it’s without interruption among these movements. On the aspect of the compositional way, Schubert used the materials of rhythmic motifs, successional halftones, broken chords, and thematic melody to intersect the whole piece, making the long piece be more united. The thesis is organized into five chapters. Chapter one examines the motif, purpose, and range of the research. Chapter two illustrates the definition of the fantasia, the development of the style and the interaction among the composers, and especially the combination of the fantasia and the sonata form. Moreover, it also includes the research of the compositional years and the background of the “Wandererfantasia”. Chapter three explains the definition of the “cyclic form”, and also discusses the similarities and dissimilarities among the “idee fixe”, “leading motif”, “thematic transformation”, and the “cyclic form”. In the meanwhile, it illustrates the application of the cyclic form in the “Wandererfantasia” on the aspect of rhythmic motifs, successional halftones, broken chords, and thematic melody. Chapter four discusses the analysis of the music from three aspects of themes and phrases, keys, and the forces. Chapter five is the conclusion of the compositional style of the “Wandererfantasia”. Through the research, it is hoped that performers could realize the piece deeply when they perform or analyse it.