關於二十世紀的浪漫歌劇德語敘事爭議

On the Controversies over German Narratives of Romantic Opera in the Twentieth Century

本論文探討一個近來較被忽略的音樂史書寫面相：德語浪漫歌劇的歷史書寫。這個議題的價值在於讓我們認識到，從二次大戰之後，德國音樂和其國族身份認同如何在國際知識圈中引發了一波波激烈的爭議；而本文呈現這些爭議如何被指認出來，又如何在德語音樂學圈中的德語浪漫歌劇歷史書寫變化裡被逐步化解。我分析了二戰前和二戰後，勾斯利希（Siegfried Goslich, 1937, 1975）、達爾豪斯（Carl Dahlhaus, 1983, 1984）、亨策－德林和德林（Sabine Henze-Döhring and Sieghart Döhring, 1997）等人的相關作品；這些歷史書寫作品各自採用的敘事方法，不僅對於本文要指出的爭議具有代表性，更重要的是，這些書寫之間呈現出一種連續性的「問題與解決」關係。從這些橫貫二十世紀的歷史書寫中可以看出，德語圈音樂學家對德語浪漫歌劇的敘事手法從國族主義的框架，變遷到作曲技巧的「觀念史」，最後轉向跨國性的流動和連結。

The historiography of the German Romantic opera is a largely ignored topic today. However, its elucidation of the multifold intellectual debates on the relationships between German music and German national identity among international academicians makes it worthy of investigation. The discourse of German Romantic opera within the German-speaking community reveals how those debates are shaped and addressed. In this essay, the author analyzes the writings of pre- and post-World War II works by Siegfried Goslich (1937, 1975), Carl Dahlhaus (1983, 1984), Sabine Henze-Döhring and Sieghart Döhring (1997), which are representative not only of their individual narrative methods but also of their sequential“problem-solution”exposition. Through the lens of these German-speaking musicologists, this paper explicates how the conceptions of German Romantic opera narratives break through a nationalistic framework by veering toward the“history of ideas”in composition technique, and then achieve a historiography of transnational fluidity and connectivity over the course of the twentieth century.