弦內之音／言外之意：談韋伯《魔彈射手》中糾葛文意之音樂處理

Music on Score / Significance out Words: Focus on the Musical Arrangement of Weber's Der Freischiitz about the

歌劇《魔彈射手》是韋伯最重要且廣為人知的作品之一，作品裡彰顯的主題即是善與惡。以這個觀點作為核心，來檢核劇中角色的安排、情節的推展，則可發現善、惡在本劇裡呈現的關係，除了對立外，尚有彼此的糾葛。重覆是展現音樂的手法，也是明示音樂組織所以存在的一種形式，這種以時間作為載體、建立在聽覺觀上的手法、使得音樂具有不同於其他藝術的特徵。本文即聚焦於音樂的重覆特點，分析韋伯如何在這部歌劇裏，藉由劇中諸詠嘆調（Aria）、歌曲（Lied）裏的重覆樂段，運用不同的和聲、音響色澤等音樂基材之變化，來傳達表面文字無法言傳的善惡糾葛，同時對照其他未涉及文意糾葛的重覆樂段，藉以突顯出韋伯在歌劇藝術裡，藉音樂「弦內之音」傳達文字「言外之意」的巧妙手法。

Opera Der Freischütz is one of Weber's famous masterpieces. What is conveyed in this opera is the multitudinous relationships between goodness and evil, including contrast, vagueness, and the struggle between the two. All of these constitute the important process of this opera. Repetition is the skill to music composition; besides, it fulfills the existence of musical structure. Many vocal forms are formulated in the rule of repetition. In this opera, we can see how Weber managed the repeating paragraphs by changing the chords, the color of instruments etc., in order to present the complicated vague plots.