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題名：論布洛赫「猶太系列」中的猶太精神象徵：以大提琴與管弦樂團的希伯來狂想曲《所羅門王》為例
作者：林怡彣
作者(外文)：LIN, I-WEN
校院名稱：輔仁大學
系所名稱：音樂學系
指導教授：劉志明
學位類別：博士
出版日期：2019
主題關鍵詞：布洛赫；「猶太系列」；猶太精神象徵；《所羅門王狂想曲》；〈傳道書〉；Ernest Bloch；“Jewish Cycle”；Jewish symbol；Schelomo, Rhapsodie Hébraïque for Cello Solo and Large Orchestra；“Ecclesiastes”
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布洛赫(Ernest Bloch, 1880-1959)的「猶太系列」(Jewish Cycle)係為一連貫七首作品的統稱，包括了人聲、室內樂與管弦樂作品，從1912年起，布洛赫便因為自己猶太人身份的覺醒，以及在信仰上的經驗歷程，進入了為期四年的「猶太系列」之創作，並將一些具有猶太精神象徵的元素置入樂曲當中，這些元素包括了作曲家慣用的平行四、五度音程；以猶太人傳統調式所構成的旋律、平行和弦材料所構成的和聲、各式音階材料、以布洛赫節奏(Bloch Rhythm)模仿希伯來語的重音特性、仿羊角號(Shofar)音色、裝飾性的即興風格等，透過運用這些元素，使得抽象的精神概念可以具體地表現。1916年之後的布洛赫，也試圖嘗試在其音樂作品中，加入其他當時二十世紀的創作潮流，但是內心仍然不忘他身為猶太人的血統，在他中期和後期的作品，還是可以窺見他對猶太素材的應用，只是不及「猶太系列」的連貫和典型。
布洛赫對於猶太相關素材的使用，並非直接將材料置入作品，而是將已經內化過的材料，以自己心目中的形象認定加以改變，再加以象徵性地表達其寓意，這些內化過的材料，大多數都是布洛赫幼年時期，從父親口中傳唱聽來的，或是在猶太會堂參加聚會時，所聽到的音樂記憶，故這七首「猶太系列」，在音程旋律、節奏、和聲的表現上，均有類似的共同特徵。而「猶太系列」的最後一部作品：《為大提琴與大型管弦樂團的希伯來狂想曲─所羅門王》(Schelomo, Rhapsodie Hébraïque for Cello Solo and Large Orchestra)，就是布洛赫在研讀《舊約聖經》中的〈傳道書〉時，由於受到經文啟發，之後醞釀以音樂來揣摩，進而產出的作品，當中對於人物、情境、角色的模擬，布洛赫均透過音程、音階、節奏、配器等創作技法來呈現，同時還落實了他心目中的猶太精神象徵。
概觀布洛赫的「猶太系列」，「七」這個在《聖經》中象徵工作完成與完美的數字，透過《為大提琴與大型管弦樂團的希伯來狂想曲─所羅門王》這首作品，來做為「猶太系列」的最終表述，顯示出他在信仰經驗上與作品的關聯性，意表神與人的聯合，也展現出作曲家在特定的一段創作期間，付諸於猶太精神象徵所耕耘的成果，這首作品除了是布洛赫最廣為人知的作品以外，也可以說是他在個人創作生涯中，將猶太象徵元素的構思，落實得最為完整的一部作品。
The "Jewish Circle" of Ernest Bloch (1880-1959) is a collection of seven works, including vocals, chamber music and orchestral works. Because of his awakening of Jewish spiritual and the experience of faith. He entered the four-year Jewish series and placed some trait of the Jewish symbol and elements into the music from 1912 to 1916. These elements include intervals, melody, harmony materials, scale materials, rhythm materials, Shofar like sounds, decorative improvisations, etc. Bloch also trying to add the other twentieth century creative trend in his music after 1916, but still did not forget him as a Jewish. He also application of Jewish material in his middle and late works, but not the "Jewish Cycle" coherent and typical.
Bloch's use of Jewish-related material is not to place the material directly into the work, but to have the material that has been internalized, to be changed in the image of his mind, and to express its meaning symbolically. Of the material, most of them are Bloch childhood singing from his father or get-together in the synagogue. So the "Jewish Cycle" in the melody, rhythm, harmony performance have similar common characteristics. And the last work of the "Jewish Circle" Schelomo, Rhapsodie Hébraïque for Cello Solo and Large Orchestra is Bloch in the study of the Old Testament " Ecclesiastes ". Because of being inspired and then brewing want to try to figure out the music and then the output of the work which for the characters, the situation, the role of the simulation. Bloch through the interval, scale, harmony, rhythm and other creative techniques to show but also the implementation of his Jewish symbol.
Overview of "Jewish Cycle", "Seven" is a symbol of the work done in The Holy Bible and means perfect. Through the Schelomo as "Jewish Cycle" the final expression, showing his experience between the works and the Bible. It’s meaning the combination of God and the people, but also show the composer in a specific period of creation, put the work of the Jewish spirit of the results. Schelomo is the most well-known works of Bloch and also the most complete idea of Jewish symbol and elements in his personal career.
參考書目

中文文獻
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戴衛遜；古樂人 譯。《傳道書、雅歌注釋》。香港：基督教文藝，1994。

西文文獻
Albright, Daniel ed. Modernism and Music. Chicago: The University of Chicago Press, 2004.
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Buhle, Paul. Jews and American Popular Culture. Westport: Praeger,2006.
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Dorsey, David A. The Literary Structure of the Old Testament: A Commentary on Genesis –Malachi. Grand Rapids, MI: Baker Books, 1999.
Edelman, Marsha Bryan. Discovering Jewish Music. Philadelphia: The Jewish Publication Society, 2003.
Gilman, Sander L. Multiculturalism and the Jews. New York: Taylor & Francis Group, 2006.
Goehr, Lydia. The Quest for Voice. Berkely: University of California Press, 1998.
Gradenwitz, Peter. The Music of Israel: From the Biblical Era to Modern Times. New Jersey: Amadeus Press, 1996.
_______. The Music of Israel: Its Rise and Growth through 5000 Years. Charleston: Nabu Press, 2011.
Harran, Don. In the Footsteps of the “Great Jewish Composer” Salamone Rossi: Jewish Musician in Late Renaissance Mantua. Oxford: Oxford University Press, 1999.
Heaton, E. William. Everyday Life in Old Testament Times. New York: Scribner Publisher, 1956.
Heskes, Irene. The St. Petersburg Society for Jewish Folk Music: The Legacy from Russia. New York: Tara Publications, 1998.
_______. Passport to Jewish Music: Its History, Traditions, and Culture. Westport: Greenwood Press, 1994.
_______. Studies in Jewish Music: Collected Writings of A. W. Binder. New York: Bloch Publishing Company, 1971.
Holde, Artur. Jews in Music from the Age of Enlightenment to Mid 20th Century. New York: Bloch Publishing Company, 1974.
Idelsohn, Abraham Zvi. Jewish Music in Its Historical Development. New York: Dover Publications, Inc., 1929.
Karadut, Asu Perihan. Narratives in Music: Schelomo Hebraic Rhapsody for Cello and Orchestra. DMA diss., Louisiana State University, 2007.
Kushner, David Z. The Ernest Bloch Companion. Westport: Greenwood Press, 2002.
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_______. Ernest Bloch and His Symphonic Works. Ann Arbor: University Microfilm, Inc., 1968.
_______. “Bloch, Ernest.” Oxford Music on Line. Oxford: Oxford University Press, 2007.
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Móricz, Klára. Jewish Nationalism in Twentieth-Century Art Music. Ann Arbor: University Microfilm, Inc., 1999.
______. Jewish Identities. Berkeley: University of California Press, 2008.
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Nowell, Irene. Song of Songs, Ruth, Lamentations, Ecclesiastes, Esther. Collegeville, Minnesota : Liturgical Press, 2013.
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______. The Music of the Jews in the Disaspora. New York: Thomas Yoseloff, 1970.
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期刊資料
Gatti, Guido M. Ernest Bloch. The Musical Quarterly, Vol. 7, No. 1 (Jan., 1921): 20-38.
Greenfield, Phil. Pieces of Classic Joy. Baltimore Jewish Times 241.1(1993): 80-84.
Holder, David. The Structure of Ecclesiastes. The 2003 SITS Conference: 17-23.
Levinowitz, Lili M. The Importance of Music in Early Childhood. Music Educators Journal (July 1999): 17-18.
Jacobson, Joshua R. Universalism and Particularism in Ernest Bloch’s Sacred Service. Choral Journal (November 2009): 20-34.
Kushner, David Z. Religious Ambiguity in the Life and Works of Ernest Bloch. Israel Studies in Musicology Online 3(2004): 1-15.
Móricz, Klára. Sensuous Pagans and Righteous Jews: Changing Concepts of Jewish Identity in Ernest Bloch's "Jézabel" and "Schelomo." Journal of the American Musicological Society 54. 3 (Fall 2001): 439-491.
Slobin, Mark. Jewish Identities: Nationalism, Racism, And Utopianism in Twentieth- Century Music. Journal of the American Musicological Society 64.1 (Spring 2011): 261-276.

樂譜
Bloch, Ernest. Trios Poèmes Juifs pour Grand Orchestre. New York: G. Schirmer, Inc., 1918.
______. Schelomo, Rhapsodie Hébraique for Cello Solo and Large Orchestra .
New York: G. Schirmer, Inc., 1918.
______. Deux Psaumes pour Chant et Orchestre. New York: G. Schirmer, Inc.,
1919.
______. Quatuor À Cordes. New York: G. Schirmer, Inc., 1919.
______. Psaume 22. New York: G. Schirmer, Inc., 1921.
______. Israel Symphony for Orchestra. New York: G. Schirmer, Inc., 1925.
Nathan, Hans Ed. Israeli Folk Music: Songs of the Early Pioneers. Madison: A-R
Editions, 1994.
Werner, Eric. Hebrew Music. New York: Leeds Music Corp., 1961.

網路資料
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〈http://jewishquarterly.org/2010/07/bloch/〉( 2011. 10. 11)
“Jewish Musicians.”，《猶太音樂》。
〈http://www.jbuff.com/c080703.htm〉(2011. 12. 12)
《布洛赫遺產基金會官方網頁》。
〈http://ernestbloch.org/home.cfm?dir_cat=82588〉(2013. 05. 09)
“The New Jewish School.”，《猶太音樂》。
〈http://www.musica-judaica.com/musica_judaica_e.htm〉(2013. 07. 25)
“50 years after composer Ernest Bloch's death, Oregon celebrates his life and works.”，《奧瑞岡現場》。
〈http://www.oregonlive.com/performance/index.ssf/2009/07/50_years_after_composer_ernest.html〉(2013. 07. 31)
“A Brief History and Analysis of Ernest Bloch's Schelomo”，《國際大提琴協會》。
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“Neo-romanticism.”《牛津音樂辭典》線上英文版。
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〈http://frithluton.com/articles/soul-image/〉(2014.12.06)
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〈http://www.azquotes.com/quote/1311363〉(2014.12.06)
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〈http://www.iep.utm.edu/rel-lang/〉(2015.02.02)
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有聲資料
Ofra Harnoy & London Philharmonic Orchestra. Sir Charles Mackerras, Conductor. Bloch: Schelomo& Bruch: Kol Nidrei (BMG Music, 60757-2-RC)
大衛‧鮑森。《舊約綜覽DVD上集》。台北市：好消息衛星電視台，2008年。




 
 
 
 
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