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題名:普契尼《蝴蝶夫人》中的「音樂借用」與文化意涵
作者:施金農
作者(外文):Chin-Nung Shih
校院名稱:國立臺北藝術大學
系所名稱:音樂學系博士班
指導教授:王美珠
學位類別:博士
出版日期:2016
主題關鍵詞:普契尼、歌劇、蝴蝶夫人、音樂借用、文化意涵、藝伎、日本音樂、日本文化、明治維新Giacomo PucciniOperaMadama Butterflymusical borrowingcultural implicationJapanese traditional musicJapanese culture
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論文摘要
本論文的研究核心普契尼《蝴蝶夫人》(Madama Butterfly)中「音樂借用」(Musical Borrowing)與文化意涵(Cultural Implication)的關聯性。截至本文完成,共發現普契尼在劇中使用十四首「音樂借用」素材,包括美國國歌一首,中國民謠兩首,以及十一首日本民謠曲調素材。普契尼仔細考量這十四首「音樂借用」素材的歷史背景與文化脈絡,他將這些多數附有歌詞的曲調輪廓,維持可立即辨識的程度,然後運用各種不同的織度變化,置入歌劇情節發展脈絡中。這些「音樂借用」的目的,是為了使這些舊曲調在新脈絡中引發聯想作用和移情作用,象徵蝴蝶夫人的藝妓身分與性格、大和民族性和文化特徵、東西方國家認同與文化衝突等議題。分析這些「音樂借用」素材的歌詞內容與樂曲結構,以及普契尼的借用手法與內容,理解借用曲調與新脈絡的互動關聯性。這些借用曲調的歌詞意涵,多半和歌劇情節的發展有直接關聯或隱喻作用,因此聆聽時若能理解這些被隱藏的民謠歌詞內容,或是部分歌詞引發的聯想,就能深刻理解此齣歌劇豐富的文化意涵。
本論文最後一章為《蝴蝶夫人》的接受與評論,聚焦於日本首位揚名國際的蝴蝶夫人三浦環的接受史觀,包括局內人和局外人的觀點,檢視1920年普契尼為何稱她為「理想的蝴蝶夫人」的意義;最後總結音樂學者對於《蝴蝶夫人》的評價。本文研究結果發現普契尼精簡有效地「音樂借用」手法,喚起強而有力的歷史記憶聯想,闡述獨特的大和文化意涵,這就是百年來《蝴蝶夫人》依舊是成功且流行的義大利歌劇的主要原因。
本論文完成呼應羅蘭‧巴特的宣言:「作者已死」,將詮釋的辯證空間交給讀者,本論文僅代表作者現階段對於《蝴蝶夫人》的理解與詮釋。
Abstract
This dissertation mainly explores the musical borrowings and cultural implications in Puccini’s Madama Butterfly. This study has found that Puccini used fourteen musical borrowings in the opera, including the national anthem of USA, “the Star-Spangled Banner”, two Chinese folk songs, and eleven Japanese folk songs. Puccini took into account the specific historical background and cultural contexts of these musical borrowings. He imbedded these melodies into the opera with a variety of textures but maintained most of the musical borrowings to a recognizable degree. The purposes of the musical borrowings are to show the associations and empathy with the art of geisha and character of Cho-Cho San as well as symbolize Japanese nationality, identity and the cultural conflicts from the East to the West.
In this dissertation, I analyze the text, the devices and the structure of the musical borrowings with the focus on the content and the extent of the correlation between these borrowings and the new musical context. If a listener knows the hidden text of a quoted folk song or other metaphors in the lyrics, then he or she can understand the rich cultural implications in the opera.
The last chapter of the dissertation focuses on the reception and criticism of Madama Butterfly. It contains the reception of Miura Tamaki, the first internationally renowned native Japanese Madama Butterfly as well as outsiders’ and insiders’ receptions of her. It also examines the reason why she was recognized by Puccini as an “ideal Madama Butterfly” in 1920, and the criticisms of musicologists with regard to this opera. The results of this dissertation show that Puccini had made effective use of musical borrowings to powerfully arouse the historical association of the opera with Japanese cultural implications. This is the main reason why Madama Butterfly has been one of the most popular and successful Italian operas.
My dissertation reflects Barthes’s claim, “the death of the author”, which leaves the interpretation of a text to the readers (interpreters) over the composer (the interpreted). Therefore it stands for my understanding and interpretation of Madama Butterfly.
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Inazō, Nitobe(新渡戶稻造)。《武士道》(Bushido: The Soul of Japan),吳容宸譯。台北:先覺出版股份有限公司,2003年。
Janaro, Richard and Altshuler ,Thelma C. eds.(理查德‧加納羅、特爾瑪‧阿特休勒)合著。《藝術讓人成為人》(The Art of Being Human),舒予、吳珊譯。北京:北京大學出版社,2012年。
Kazunari, Suzumura(鈴村和成)。,《巴特:文本的喜悅》,戚印平、黃衛東譯。石家庄:河北教育出版社,2001年。
Kerman, Joseph(約瑟夫‧克爾曼)。《沉思音樂-挑戰音樂學》(Contemplating Music: Challenge to Musicology),朱丹丹、湯亞汀譯。北京:人民音樂出版社,2008年。
__________。《作為戲劇的歌劇》(Opera as Drama),楊燕迪譯。上海:上海音學院出版社,2008年。
Kühn, Clemens(克列門斯‧庫恩)。《音樂分析法》(Analyse lernen),錢泥譯。上海:上海音樂出版社,2009年。
Lévi-Strauss, Claude(克勞德‧李維─史陀)。《月的另一面:一位人類學家的日本觀察》,廖惠瑛譯。台北:行人文化實驗室,2011年。
McClary, Susan(蘇珊.麥克拉蕊)。《陰性終止》(Feminine Endings),張馨濤譯。台北:商周出版,2003年。
Meyer, Leonard B.(倫納德‧邁爾)。《音樂的情感與意義》(Emotion and Meaning in Music),何乾三譯。北京:北京大學出版社,1991年。
Michels, Ulrich(烏利希‧密赫爾斯)。《音樂圖驥》(dtv-Atlas Musik),劉岠渭等譯。台北:小雅音樂,2006年。
Minami, Hiroshi(南博)。《日本人論:從明治維新到現代》,邱淑雯譯。新北市:立緒文化,2003年。
Nishio, Kumiko(西尾久美子)。《京都祇園350年經營學》。三田淑敏譯。台北: 天下雜誌,2010年。
Riemann, Hugo(胡果‧利曼)。《音樂美學的基礎》(Grundlinien den Musik – Ästhetik, 1882),徐頌仁譯。台北:愛樂文庫,1965年。
Said, Edward W.(薩依德)。《文化與帝國主義》(Culture and Imperialism),蔡源林譯。台北:立緒文化,2001年。
_________。《東方主義》(Orientalism),王志弘等譯。台北:立緒文化,1999年。
Schmitt, Uwe(烏偉‧史密特)。《日本的假面》,張志成譯。台北:左岸文化,2003年。
Shirahata, Yōzaburō(白幡洋三郎)。《日本文化99題》。蔡敦達等譯。上海:上海譯文出版社,2007年。
Storr, Anthony(安東尼‧史托爾)。《音樂與心靈》(Music and the Mind),張嚶嚶譯。 台北:知英文化,1999年。
Tomiko, Kojima(小島美子)。《從音樂看日本人》,張萌譯。南京:南京大學出版社,2012年。
Wenzel, Christian Helmut (文哲)。《康德美學》。李淳玲譯。台北:聯經出版社,2011年。
Wilde, Oscar(奧斯卡‧王爾德)。《王爾德讀本》,蘇福忠譯。北京:人民人學出版社,2011年。
Yasushi, Inoue(井上靖)等著。《日本人與日本文化》。周世榮譯。北京:新華書店,1991年。

(四) 期刊文章與辭書條目
王慧娟。〈日本藝伎文化〉,《世界文化》,2008年第2期(2008/07),頁46-48。
國峰。〈日本的國粹─藝伎〉,《科學大觀園》,2010年第12期,頁12-14。
陳俊斌。〈「民歌」再思考:從《重返部落》談起〉,《民俗曲藝》178,2012年12月,頁207-271。new window
陳義雄。〈亞洲第一位世界性歌唱家三浦環〉,《謬思客‧古典月刊》,2007年第12期,頁40-45。
彭宇薰。〈西方音樂中之情慾書寫-《陰性終止》之省思〉,《藝術評論》,第15期,2004年,頁1-26。new window
羅基敏。〈新乎?舊乎?歌劇乎?漫談廿一世紀歌劇發展〉,《PAR表藝術雜誌》,第182期(2008/02),頁94-95。
羅基敏。〈展現多元文化觀的《蝴蝶夫人》〉,《PAR表藝術雜誌》,234期(2012/06),頁34-36。
Atlas, Allan W.“Crossed Stars and Crossed Tonal Areas in Puccini’s Madama Butterfly”19th-Century Music, Vol. 14, No. 2 (Autumn, 1990), pp. 186-196.
Ballantine, Christopher. “Charles Ives and the Meaning of Quotation in Music.” The Musical Quarterly, vol.65, no.2 (Apr.,1979), pp.167-184.
Beckeman, Michael.“The Sword on the Wall: Japanese Elements and Their Significance in The Mikado.”The Musical Quarterly, vol.73, no.3 (1989), pp.303-319.
Berg, Shelley C. “ Sada Yacco in London and Paris, 1900: Le Reve Realise.” Dance Chronicle, Vol. 18, No. 3 (1995), pp.343-404.
Bourne, Joyce. A Dictionary of Opera Characters. New York: Oxford University Press, 2010.
Burkholder, J. Peter.“The Uses of Existing Music: Musical Borrowing as a Field”Notes, Second Series, Vol. 50, No. 3 (Mar., 1994), pp. 851-870.
_______.2001a: “Borrowing”, in Stanley Sadie and John Tyrell eds., The New Grove Dictionary of Music and Musicians, 2nd edn (London: Macmillan), vol.4, pp.5-8.
_______.2001b: “Collage”, in Stanley Sadie and John Tyrell eds., The New Grove Dictionary of Music and Musicians, 2nd edn (London: Macmillan), vol.6, pp.110-111.
Carner, Mosco and G. R.“The Exotic Element in Puccini”The Musical Quarterly, Vol. 22, No. 1 (Jan., 1936), pp. 45-47.
Girardi, Michele.“Puccini, Giacomo”In Grove Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/s420280 (accessed 14 Nov. 2014)
Greenwald, Helen M.“Verdi’s Patriarch and Puccini’s Matriach: Through the Looking – Glass and What Puccini Found There”19th-Century Music, Vol. 17, No. 3 (Spring, 1994), pp. 220-236.
_______.“Picturing Cio-Cio-San: House, Screen, and Ceremony in Puccini’s“Madama Butterfly””Cambridge Opera Journal, Vol. 12, No. 3 (Nov., 2000), pp. 237-259.
Groos, Arthur.“Cio-Cio-San and Sadayakko: Japanese Music-Theater in Madama Butterfly”Monumenta Nipponica, Vol. 54, No. 1 (Spring, 1999), pp. 41-73.
_______. “Madame Butterfly: The Story”Cambridge Opera Journal, Vol. 3, No. 2 (Jul., 1991), pp. 125-158.
_______.“Return of the Native: Japan in“Madama Butterfly / Madama Butterfly”in Japan”Cambridge Opera Journal, Vol. 1, No. 2 (Jul., 1989), pp. 167-194.
Hutcheon, Linda.“Interdisciplinary Opera Studies”The Modern Language Association of America, Vol. 121, No. 3 (May, 2006), pp. 802-810.
Janes, Stanleigh H.“Puccini Among the Puppets: Madame Butterfly on the Japanese Puppet Stage”Monumenta Nipponica, Vol. 38, No. 2 (Summer, 1983), pp.163-174.
Keppler, Philip. “Some Comments on Musical Quotation.” The Musical Quarterly, Vol. 42, No. 4 (Oct., 1956), pp. 473-485.
Kitayama, Atsuyasu. “Historical Changes in the Objectives of Japanese Music Education”Visions of Research in Music Education, 16(1), Summer, 2010. The Quarterly, volume1, no.4, University of Northern School of Music, winter, 1990, pp.32-37.
Liao, Ping-hui.“Of Writing Words for Music Which Is Already Made”: “Madama Butterfly, Turandot”,and Orientalism. Cultural Critique, No. 16 (Autumn, 1990), pp. 31-59.
Locke, Ralph P.“A Broader View of Musical Exoticism”The Journal of Musicology, Vol. 24. No. 4 (Fall 2007), pp. 477-521.
Long, John Luther. “Madame Butterfly” The Century, Vol. 0055 (Jan. 1898), pp. 374-393.
Miller, J. Scott. “Dispossessed Melodies. Recordings of the Kawakami Theater Troupe” Monumenta Nipponica, Vol. 53, No. 2(Summer, 1998), pp. 225-235.
Parker, Roger and Atlas, Allen W.“A Key for Chi? Tonal Areas in Puccini” 19th-Century Music, Vol. 15, No. 3 ( Spring, 1992), pp. 229-234.
Randel, Don. Ed. Reception﹝Ger. Rezeption﹞”, in: The New Harvard Dictionary of Music. Massachusetts: The Belknap Press of Harvard University Press, p. 682.
Sadie, Stanley, ed., The New Grove Dictionary of Music and Musicians, 29 vols. (London: Macmillan, 2000), s.v. “Borrowing” by J. Peter Burkholder.
_______. The New Grove Dictionary of Music and Musicians, 29 vols. (London: Macmillan, 2000), s.v. “Quotation” by J. Peter Burkholder.
Samson, Jim. “ Reception” in Grove Music Online .Oxford Music Online http://www.oxfordmusiconline.com/subscriber/article/grove/music/s40600 (accessed 12 Dec. 2014)
Sheppard, W. Anthony. “Puccini and the Music Boxes.” Journal of the Royal Musical Association, 140: 1(Apr. 2015), pp.41-92.
Yoshihara, Mari.“The Flight of the Japanese Butterfly: Orientalism, Nationalism, and Performances of Japanese Womanhood”American Quarterly, Vol. 56, No. 4 (Dec., 2004), pp. 975-1001.

(五) 樂譜
Capellen, Georg. Japanische Volksmelodien des Isawa Shuiji als Charakterstücke für Klavier bearbeitet (Leipzig: Breitkopf & Härtel, 1904)
Dittrich, Rudolf. Nippon Gakufu: Sechs Japanische Volksliederr/ Six Japanese Popular Songs. Leipzig: Breitkopf & Härtel, 1894.
Isawa, Shūji.(伊沢修二) 編,《小學唱歌》,大日本圖書,1892.
Nagai, Iwai.(永井岩井) 撰曲and Kenpachiro(小畠賢八郎) 調曲,《日本俗曲集: 西洋楽譜》(A Collection of Japanese Popular Musics),三木書店,1892.
_______.《日本俗曲集:西洋楽譜》(A Collection of Japanese Popular Musics),三木書店,1893.
Puccini, Giacomo. Madama Butterfly: Opera in Three Acts. Vocal Score revised by Victor Trucco. 台北:全音樂譜出版社。
Puccini, Giacomo. Madama Butterfly: Opera in Two Acts. Full Score, New York: Dover, 1990.
Puccini, Giacomo. Madama Butterfly: Opera in Two Acts. Full Score, Milan: G. Ricordi, 1907.
Puccini, Giacomo. Madama Butterfly: Opera in Two Acts. Vocal Score, Carlo Carignani (1857–1919), piano reduction. Milan: G. Ricordi & C., 1907.
(六) 影音資料
Madama Butterfly. By Giacomo Puccini. Dir. Derek Bailey. Per. Yasuko Hayashi and Peter Dvorsky. Chorus and Orchestra of Teatro Alla Scala, MiLan. Cond. Lorin Maazel. Well go USA, 2004.
Madame Butterfly. By Giacomo Puccini. Dir, Frédéric Mitterrand. Perf. Ying Huang and Richard Troxell. Orchestre de Paris, Choeurs de Radio France. Cond. James Conlon. Sony, 1995. DVD.
Madama Butterfly. By Giacomo Puccini. Dir. Gary Halvorson. Perf. Parricia Racette and Marcello Giordani. The Metropolitan Opera Orchestra, Chorus and Ballet. Cond. Patrick Summers. Sony Music DVD.2009.
Madama Butterfly. By Giacomo Puccini. Dir. Pier Luigi Pizzi. Perf. Raffaella Angeletti and Massimiliano Pisapia. Sferistero Opera Festival Macerta. Fondazione Orchestra Regionale Delle Marche. Cond. Daniele Callegari. Unitel Classica.2010.
Madama Butterfly. By Giacomo Puccini. Dir. Franco Zeffirelli. Perf. Fiorenzo Cedolins and Marcello Giordani. Orchestra e Coro dell’Arena di Verona. Fondazione Arena di Verona 2005 TDK Recording Media Europe S.A.
N.B.以上版本選擇係以美國、日本、義大利和法國等不同製作團隊的演出版本作為參考研究對象。
(七) 美加博碩士論文
Anders, Micheal F. “Musical and Dramatic Structure in The Finales of The Operas of Giacomo Puccini.” Ph. D. diss., The Ohio State University, 1997.
Cheng, Ya-Hui. “The Harmonic Representation of The Feminine in Puccini.” Ph. D. diss., Florida State University, 2008.
Cole, Joanne.“Western Influence on Japanese Art Song( Kakyoku) in the Meiji era Japan”. M.M., The University of Melbourne, 2013.
Davis, Sandra K. “Metamorphosis of A Butterfly: Puccini and The Making of A Powerful Tragic Heroine.” Ph. D. diss., University of Hawaii , 2005.
Hara, Kunio. “Staging Nostalgia in Puccini’s Opera.” Ph. D. diss., Indiana University, 2012.
_______. “Puccini’s Use of Japanese Melodies in Madama Butterfly.” M. M. Thesis, University of Cicinnati, 2003.
Ho, Min. “The Leitmotif Technique in Puccini’s La Boheme, Tosca, and Madama Butterfly.” Ph. D. diss., University of Saskatcghewan, 1994.
Schwartz, Arman Raphael. “Modernity Sings: Rethinking Realism in Italian Opera.” Ph. D. diss., University of California, Berkeley, 2009.
Steadman, Amanda. “Images of Japonisme: The Portrayal of Japan in Select Musical Works.” M. M. Thesis, Bowling Green State University, 2009.
Sugita, Satoshi. “Cherry Blossoms and Rising Sun—A Systematic and Objective Analysis of Gunka (Japanese War Songs) in Five Historical Periods (1868-1945).” M.A. Thesis, The Ohio State University, 1972.
Vetere, Mary-Lou Patricia. “Italian Opera From Verdi to Verismo: Boito and La Scapigliatura.” Ph. D. diss., State University of New York , 2010.
Yoshida, Shinobu. “Modeling Heroines from Giacomo Puccini’s Operas.” Ph. D. diss., The University of Michigan, 2011.
(八) 網路資料
http://www.daisyfield.com/music/jpm/about, accessed 2016/01/22
Kauf, Tabea. Izawa Shujis “Lieder für Grundschule” (Shogaku shoka, 1892) Eingeleitet, übersetzt und kommentiert. Bachelor of Arts im Fach Regionalstudien Asien/Afika, Humboldt-Universität zu Berlin, 2011.
Loti, Pierre. The Project Gutenberg Ebook of Madame Chrysantheme Complete, by Pierre. Release Date: October 5, 2006. Last Updated: November 1, 2012., accessed 2015/3/12
www.morrismuseum.org/mechanical-musical-instruments-automata/ Audio clips , accessed 2016/01/22
www.tokyo.thenote.com.tw, accessed 2015/08/04
www.ndl.go.jp/en/publication/ndl-newsletter/199/911.html, accessed 2015/07/20.
http://taito-culture.jp/history/sogakudo/english/sogakudo_e_04.html,accessed 2015/12/03
http://www.oldmagazinearticles.com/Japanese_Opera_Singer_Tamaki_Miura_information, accessed 2015/12/03



 
 
 
 
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