從書信手稿談音樂學者與作曲家的關聯──以拉盧瓦和德布西鋼琴曲《月落古廟》的創作為例

Study on the Relationship between Musicology and Composer: The Influence of Musicologist Louis Laloy on Claude Debussy’s Et la lune descend sur le temple qui fut

路易‧拉盧瓦（Louis Laloy, 1874-1944）是二十世紀初法國音樂學家，同時也是樂評家、漢學家、作曲家與音樂教育家。第一位取得巴黎索邦大學（La Sorbonne）音樂學博士文憑，拉盧瓦也曾跟隨法國音樂家文森‧丹第（Vincent d’Indy, 1851-1931）學習作曲。1914年，拉盧瓦受香水界大亨同時也是巴黎歌劇院總監－－賈克‧胡薛（Jacques Rouché, 1862-1957）的賞識，受聘擔任巴黎歌劇院總秘書長，直至1941年退休。這段期間他與德布西（Claude Debussy, 1862-1918）、拉威爾（Maurice Ravel, 1875-1937）、史特拉汶斯基（Igor Stravinsky, 1882-1971）等人來往密切，認為他們將成為二十世紀音樂的先驅，並在巴黎歌劇院積極推廣法國音樂。然而第二次世界大戰過後，拉盧瓦卻被音樂史家忽略，尤其是他與德布西之間的關係至今尚未被人深入探討。有鑑於此，筆者將以在拉盧瓦家族收藏室裡發掘到的手稿資料為基礎，闡述德布西與拉盧瓦之間的關係，探討德布西的鋼琴作品《月落古廟》如何受拉盧瓦的遠東音樂知識影響並建構出他自己的音樂美學，成為獨樹一幟的德布西主義（debussysme）。

Louis Laloy (1874-1944) is one of early 20th century French musicologist; he is also a music critic, sinologist, composer and music educator. Not only is he the first person to get doctoral degree in musicology from Paris-Sorbonne University, but also he is the disciple of French composer Vincent d’Indy (1851-1931). In 1914, Laloy met the famous perfumer Jacques Rouché (1862-1957) who appreciated and appointed him to been General Secretary of the Paris Opera until 1941. During this period he promotes the French music and was closed to Claude Debussy (1862-1918), Maurice Ravel (1875-1937) and Igor Stravinsky (1882-1971) in believing that they will become the pioneers in 20th century music’s history. However, Laloy was forgotten after World War II, especially the relationship between him and Debussy has so far rarely been explored. In view of this, based on first-hand data found in Laloy family’s archives, I will present Laloy’s life firstly and then describe his friendship with Debussy. Taking this as a starting point, I will explore how Debussy got his creative inspiration for his piano work Et la lune descend sur le temple qui fut from Laloy’s Far East music knowledge and constructed his own musical aesthetics, became unique debussysme.