E. T. A. 霍夫曼歌劇《水妖》之研究

Abstract

受浪漫主義文學思潮影響，十九世紀的音樂與藝術作品開始往浪漫思潮發展。著名的德國浪漫主義作曲家恩斯特·西奧多·阿瑪迪斯·霍夫曼 (Ernst Theodor Amadeus Hoffmann, 1776-1822)，其音樂作品橫跨兩時代，作為歷史實驗性作品，他的音樂創作常被人忽視。然而透過他的美學思想融入並經過不斷的試驗，最終歌劇《水妖》(Undine, 1814) 成為引領德國浪漫歌劇的指標。本次研究將針對歌劇《水妖》進行剖析，從霍夫曼的生平、創作與美學，探究霍夫曼的文論與樂論以理解其音樂美學思想。再來研究歌劇《水妖》之創作背景，梳理德語歌劇的流變與霍夫曼的歌劇作品、水妖意象與小說《水妖》內容及劇本。最後針對《水妖》之聲樂曲與管弦樂與創作手法分析，對聲樂曲、音樂素材、管弦樂伴奏聲響效果與舞台戲劇的整體進行研究。結合多位E. T. A. 霍夫曼研究學者對其全面觀點，以理解歌劇《水妖》的前衛性與歷史意義。Influenced by the Romantic literary movement, music and artistic works of the 19th century began to develop in the direction of Romanticism. Ernst Theodor Amadeus Hoffmann (1776–1822), a renowned German Romantic composer, created musical works that bridged two eras. Although his historical experimental musical compositions were often underestimated, his aesthetic ideas—integrated through continuous experimentation—ultimately led to the opera Undine becoming a landmark in the development of German Romantic opera. This study will undertake an analysis of the opera Undine, beginning with an exploration of E. T. A. Hoffmann’s life, creative work, and aesthetics, explore his literary works and music criticism to better understand his musical aesthetic thought. Subsequently, the research will investigate the creative background of the opera Undine, outlining the evolution of German-language opera, Hoffmann’s operatic compositions, the imagery of water spirits, and the content and libretto of the novella Undine. Finally, the study will focus on an analysis of Undine’s vocal music, orchestration, and compositional techniques, examining the vocal writing, musical material, orchestral accompaniment, sound effects, and the overall integration with stage drama. By integrating the comprehensive perspectives of various E. T. A. Hoffmann scholars, the study aims to understand the avant-garde nature and historical significance of the opera Undine.