若利維的音樂語法分析以《瑪納》鋼琴曲集之〈波九來〉為中心

André Jolivet's Musical Language An Analysis of BEAUJOLAIS in MANA

《瑪納》是若利維在結束與瓦列茲習樂後兩年的成名作品。它是一個鋼琴曲集，於1935 年12 月12 日「螺旋」音樂協會創會音樂會中首演，是若利維在大戰前的創作作品中最具代表性的曲子之一。本文以該曲集的第一首樂曲－－〈波九來〉為分析對象，探究其創作脈絡、時代背景、以及作者所運用的理念與音樂語法。該曲深受瓦列茲教學與北非傳統音樂的影響，充滿原始、奔放的熱情。作品中更自由地運用12 個半音與無理節奏。其所呈現的激情，正是作曲者音樂觀中人與自然的連結管道；而節奏與不和諧音所形構的力量，也將重建一個新的秩序。

Mana, a suite for piano, was completed in 1935, just two years after Jolivet terminated his studies with Edgar Varèse, and first performed in Paris at La Spirale on 12th December 1935. This suite for piano is one of the most representative work that Jolivet composes befor the war. The present article situates the work in its contemporary context, illuminating points of theoretical significance as they relate to the composer's ongoing creative development and distinctive musical language. For reasons of chronology and style, Mana are generally understood to have been composed in an unsystematic, intuitive and violent form under the influence of Varèse's teaching and his visit to North Africa. These short pieces in fact employ a specific approach to pitch grammar involving the liberal deploy of twelve semitone. The riot that greeted Mana, focussing on the inherent intuitive power of the humain being connects the individual with the universal and can rebuild a new order.