泰戈爾詩與廿世紀早期英國歌曲：以羅納德、法爾茲與布瑞基之創作為主要考察對象

"Rabindranath Tagore’s Poetry and English Songs in the Early Twentieth Century: On Musical Settings by Landon Ronald, John Foulds and Frank Bridge"

孟加拉詩人泰戈爾不僅在1910至1930年代的英國文壇引發熱議，也吸引當代英國作曲家將其文字譜寫成歌曲。雖然已有少數研究討論此現象，卻多聚焦在相關作曲家及作品的資訊蒐集，少見深入的作品分析。本論文探討其中三位最具代表性的作曲家及他們的泰戈爾歌曲，特別著重個別樂類傳統對作曲家詩文處理的影響。本文發現，最早創作泰戈爾歌曲的羅納德，在1913年所創作的第一系列《歌曲奉獻》中還顯示出深刻的「客廳敘事歌」傳統，1920年完成的第二系列《歌曲奉獻》則更富宗教性，並可見到十九世紀德語藝術歌曲的痕跡。法爾茲在1919年為戲劇《犧牲》創作的兩首歌曲中，將印度傳統樂器融入西方的弦樂室內樂，預告了他日後結合東、西方音樂的努力。布瑞基自1922年起陸續創作的三首泰戈爾歌曲使用擴張調性的和聲語言。他以宣敘調保留了詩文的語言韻律，再利用鋼琴部分清楚的素材邏輯補強成完整架構。布瑞基的泰戈爾歌曲象徵他對藝術歌曲創作的告別，也揭示了他日後更國際化的前衛路線。

"The Bengali poet Rabindranath Tagore not only stirred a fierce debate in the English literary world from the 1910s to1930s but also evoked contemporary English composers to set his words to music. Most of the researches on the musical renditions of Tagore’s poems focus on compilation of materials on the composers and their works; yet very few studies actually analyze the relationship between music and the poetic texts closely. The present study focuses on Landon Ronald, John Foulds and Frank Bridge and their musical renditions of Tagore’s poems with special attention to the characteristics of musical genres selected and their implication to the composition of these songs. Ronald’s Song-Offerings is the first musical adaptation of Tagore’s poetry in the Western world. Whereas the first series of Song-Offerings composed in 1913 was branded with characteristics of the“drawing-room ballad,”the second done in 1920 was more religious and bore imprints of the romantic German Lieder. In the two songs he composed for Tagore’s play in 1919, Sacrifice, Foulds incorporated Indian musical instruments on top of a conventional Western string ensemble. This attempt predicts his lifelong interest in hybridizing the musical traditions of the East with the West. Bridge moved a step further to set Tagore’s three works to music in extended tonality, which are basically recitatives with slight variations achieved through the linguistic prosody of the poems. The loose vocal part is to be cemented by the clear logic constructed in the piano part. With these three songs dated from 1922 to 1925, Bridge bid farewell to his career as a song-composer and manifested his metamorphosis into an avant-garde composer."