古典時期小號協奏曲之旋律結構分析與教學策略探討－－以「尼魯達降E大調小號協奏曲」為例

An Analysis of Melodic Structures of Trumpet Concertos from the Classical Era and the Pedagogical Strategies - Taking J.B.G. Neruda's Trumpet Concerto in Eb Major as an Example

古典時期在小號的發展歷史上，是一個相當特別的時代。一方面在管絃樂曲以及獨奏曲的曲目中，在巴洛克時期中小號燦爛炫技的現像大量地銳減，另一方面，在古典時期卻又出現了三首重要的小號協奏曲。其中由約翰‧巴普提斯特‧喬治‧尼魯達（Johann Baptist Goerg Neruda,1707-1780）所創作的『降E大調小號協奏曲」，不但是三首中最早被創作的，也是在音樂學術界相對較少被深入探討的一首本文係乃針對『尼魯達小號協奏曲」全曲的三個樂章中，小號獨奏旋律的部份加以分析，並探討其教學策略，作為本文之主軸。在分析旋律之組成結構時，特別加強在其中模式化的「琶音」與「音階」，以及相對自由的「其他音型」三個類別，分別在各段落中所出現的小節數，以及所佔該段落總小節數之百分比統計。用以藉此說明此協奏曲小號獨奏旋律中，所組成之素材使用情形，並提出教學策略上之建議。

The Classical period is an unique era in the development of trumpet history. The virtuoso trumpet part vanished from the orchestra and solo repertoire during this era, on the other hand, three important solo concertos were composed in the mean time. Among these three concertos, the「Trumpet Concerto in E(superscript b) major」by Johann Baptist Goerg Neruda (1707-1780) is the earliest, and also relatively less-studied one. This paper analyses the melodic structures of the solo part of all three movements of this concerto, and discusses the pedagogical strategies for them. The analysis focuses on the statistics of the two pattern-like「arpeggio」 and 「scale」melodic fragments, and the free-style writing 「other」fragments within the solo part. Thereby a better overall understanding of the use of melodic elements in this concerto can be obtained, and more appropriate pedagogical strategies can be provided for the readers of this paper.