十六世紀義大利俚歌到矯飾風建築

From Italian Madrigal to Architectural Mannerism in 16th Century

音樂與建築兩者之密，已是常識。歷史音樂可呈顯當時社會的脈動與節奏，重現氛圍，協助建築史學者較深入地明瞭歷史的文化環境。Mdrigal是重唱曲，乃十六世紀在義大利新出的唱曲型式；它的義大利原文是madrigale，有母語或俚語的涵義，筆者將之譯作「俚歌」。俚歌之能興起，靠的是卞伯；他是推動義大利國語以及俚歌文化的領導人，透過他在音樂、文學、及政治上的影響力，讓俚俗文化躍上面，也為建築的矯飾主義起了推波之力。卞伯所帶動的義大利方言運動，激發起建築師從事建築學上的方言復興運動：大量使用鄙俗鄉土建築語言，並與古典語彙作串聯融合。
本文從俚歌風潮切入，討論其戰爭、情欲、與田園的主題，其所用旋律及和聲的誇張與對比、不諧和音效及對古典原則的反動；這些又如何影響了當時的建築師聖索維諾、朱利歐，及塞利歐等人的品味和建築語言。筆者期待這個新方向有助於澄清矯飾新風的產生，並且在其作態浮誇的皮相內，發現嚴肅深刻的義大利民族自覺運動。

The affinity between music and architecture is such a common sense. Music reflects the tempo and the rhythm of a society, which help historians to resurrect the historical atmosphere and context. The typical sixteenth-century madrigal is through- composed, that is a new song format for four or five voices. Madrigal is derived from the Italian word madrigal which means vulgar dialect song. Pietro Bembo, a celebrity of 16th century, did promote vulgar tongue and madrigal fashion through his power in music, literature, and politics. This vulgar culture, thus, motivated contemporary architects to combine rustic vocabularies and classical orders, and formed a sort mannerism in architecture. Starting from vulgar sonnet fashion, we not only discuss features of madrigal- its recurrent motif of war, sex, and bucolic, the hyperbole/contrast in harmony and melody, the dissonance sound and the defying of classical principles, but also how they had affected architects such as Sansovino, Giulio Romano, and Serlio on their taste and their performance. From this new point, this paper can, hopefully, unfold how mannerist appeared and cast light on its deeper meaning- the phenomenon of Italian nationalism.