臺灣博碩士論文加值系統

二十世紀音樂研究的新趨勢為藉由社會學與文化領域的性別觀點，開始重新檢視西方古典音樂歷史長期以來，遮蔽女性音樂家對於音樂創作的貢獻；即於西元1980年代以來，女性主義研究影響音樂學的領域，這部份對於女性音樂家的研究也日漸指日可待。中世紀女性音樂家代表–希德嘉 ( Hildegard von Bingen, 1098–1179 ) 即是最顯著的實例之一。本論文研究希德嘉如何將音樂素材呈現於一位女性音樂家本身創作意念的構想，這部份藉由研究希德嘉的生平事蹟，及其一部戲劇作品Ordo Virtutum (《美德之劇》) 與一套音樂曲集Symphonia Armonie Celestium Revelationum (《上天所啟示的和諧之音》)；希德嘉如何詮釋性別意識之對於戲劇的劇情與人物角色，以及音樂的形式與旋律結構，其中戲劇與音樂所刻劃女性形象的描述，這兩部作品實以見得希德嘉表達自身情感與呈現宗教情懷的竭盡心力。

One new trend of music research emerged in the late twentieth century that the gender studies in the humanities and social science have made the women composers and their works gradually become significant areas of research within musicology, in which the women musicians and their contributions had long been restrained and even ignored. Inspired by feminist studies since 1980s, some enthusiastic musicologists have devoted themselves to the research of women musicians and their contributions in the western music history, and the renowned female musician Hildegard von Bingen ( 1098–1179 ) became one of the most representative figures in the medieval time. Besides the biographical approach of Hildegard, this thesis has thoroughly analyzed two of her enormous compositions, Ordo Virtutum, a liturgical drama, and an anthology of her music compositions, Symphonia Armonie Celestium Revelationum. The result is evident that her underlying ideas as a female composer resided in both works, no matter the plot and characters ( especially the female roles ) in the former one, or the melody, structure and form of the latter one. Thus, Hildegard's female point of view became the quintessential element of her music and drama concurrently with her visionary life and passion to God.

目錄 i
圖例目錄 iii
譜例目錄 iv
表格目錄 v
凡例 vi
第一章 緒論 1
第一節 研究動機 1
第二節 文獻回顧與探討 8
第三節 研究範圍與限制 14
第二章 希德嘉生平與創作 20
第一節 童年至Disibodenberg修道院時期 20
第二節 創作時期 28
第三節 佈道時期 31
第三章 Ordo Virtutum (《美德之劇》) 之探析 43
第一節「開場段落」 48
第二節 第一幕之「困在肉體中﹝靈魂﹞的抱怨」 57
第三節 第二幕之「眾﹝美德﹞自述性介紹」 73
第四節「終曲」 81
第四章 Symphonia Armonie Celestium Revelationum (《上天所啟示的和諧之音》) 之探析 91
第一節 主題與曲式的探討 93
第二節「聖母瑪麗亞」之主題探討與素材分析–樂曲編號第15曲《喔！綠意盎然的枝芽》 106
第三節 樂曲編號第9曲《喔！明亮的母親》 124
第四節 樂曲編號第20曲《喔！冠冕的枝芽》與樂曲編號第17曲《頌讚尊貴血脈》 132
第五節 樂曲編號第19曲《喔！蔥鬱翠綠的枝芽》 143
第五章 結語 155
參考文獻 159
附錄一 「希德嘉作品總表」 171
附錄二 「Scivias的主題內容」 172
附錄三 「Ordo Virtutum之全劇本拉丁文原詞與中譯」 176
附錄四 「《D版本》與《R版本》之手抄本內容」 188
附錄五 「希德嘉手抄本之記譜對照表」 190

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Baird, Joseph L., and Radd K. Ehrman. The Personal Correspondence of Hildegard of Bingen. Oxford: Oxford University Press, 2006.
Bower, Jane, and Judith Tick. Women Making Music: The Western Art Tradition, 1150–1950. Urbana / Chicago: University of Illinois Press, 1987.
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Chadwick, Whitney. Women, Art, and Society. London: Thames and Hudson Ltd., 1991.
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Crocker, Richard L. A History of Musical Style. New York: Dover Publications, Inc., 1986.
Cusick, Suzanne G. Rethinking Music. Ed. Nicholas Cook and Mark Everist. Oxford / New York: Oxford University Press, 1999.
Davidson, Audrey Ekdahl, and Clifford Davidson. Performing Medieval Music Drama. Michigan: The Society for Old Music by Medieval Institute Publications, 1998.
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Drinker, Sophie. Music and Women: The Story of Women in Their Relation to Music. New York: The Feminist Press at the City University of New York, 1995.
Dronke, Peter. Women Writers of the Middle Age. Cambridge: Cambridge University, 1984.
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Dunn, Leslie C., and Nancy A. Jones. Embodied Voices: Representing Female Vocality in Western Culture. Cambridge: Cambridge University Press, 1994.
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Flanagan, Sabina. Hildegard of Bingen: A Visionary Life. London / New York: Routledge, 1998.
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Fox, Matthew. Hildegard of Bingen’s Book of Divine Works with Letters and Songs. Santa Fe / New Mexico: Bear & Company, Inc., 1987.
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Halstead, Jill. The Woman Composer: Creativity and the Gendered Politics of Musical Composition. Burlington: Ashgate Publishing Company, 1997.
Hart, Mother Columba, and Jane Biship ( trans. ). Hildegard of Bingen: Scivias. Mahwah: Paulish Press, 1990.
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Holsinger, Bruce W. Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. California: Stanford University Press, 2001.
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Lamay, Thomasin. Musical Voices of Early Modern Women: Many–Headed Melodies. Burlington: Ashgate Publishing Company, 2005.
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二、西文期刊與學術相關論文
Boyce–Tillman, June. “The Eye of a Woman: Hildegard of Bingen at 900.” Musical Times. 139.1865 (1998): 30–36.
Cogan, Robert. “Hildegard’s Fractal Antiphon.” Souns–A Journal of Investigations into Global Musical Possibilities. 11.1 (1990): 1–19.
De Zubicaray, Helen. “On Hildegard’s Perception of Pitch in Her Chants.” Souns–A Journal of Investigations into Global Musical Possibilities. 16.2 (1996): 1–11.
Escot, Pozzi. “Hildegard of Bingen: Universal Proportion.” Souns–A Journal of Investigations into Global Musical Possibilities. 11.1 (1990): 33–40.
Ferko, Frank. “Hildegard von Bingen: 1098–1179: 900th Anniversary Tribute: Music of the Spheres Revisted.” Choir & Organ. 6.5 (1998): 21–24.
Flanagan, Sabina. “Hildegard and the Global Possibilities of Music.” Souns–A Journal of Investigations into Global Musical Possibilities. 11.1 (1990): 20–32.
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三、中文專書
方銘健，《西洋音樂史：理論與建構》。台北：自行出版，2005。
--- ---，《音樂．美學．從傳統到現代》。台北：自行出版，2007。
--- ---，《藝術、音樂情感與意義》。台北：全音出版社，1997。
王美珠，《音樂．文化．人生：系統音樂學的跨學科研究議題與論文》。台北：美樂出版社，2001。
徐玫玲，《西洋音樂美學發展之辨證》。台北：天主教輔仁大學出版社，2009。
李振邦，《教會音樂》。台北：全音出版社，2002。
劉志明，《中世紀音樂史》。台北：全音出版社，2001。
--- ---，《西洋音樂史與風格》。台北：全音出版社，2004。
--- ---，《曲式學》。台北：全音出版社，2003。
--- ---，《現代聖樂與教會》。香港：公教真理學會，2010。
--- ---，《聖樂綜論》。台北：全音出版社，2000。
劉岠渭主譯，《音樂圖驥》( dtv–Atlas Musik )。台北：小雅音樂有限公司，2006。
愛德華．李普曼 ( Edward Lippman )，《西洋音樂美學史》( A History of Western Musical Aesthetics, 1992 )。方銘健譯本。台北：國立編譯館，2000。
蘇珊．麥克拉蕊 ( Susan McClary )，《陰性終止：音樂學的女性主義批評》( Feminine Endings: Music, Gender, and Sexuality, 1991 )。張馨濤譯本。台北：商周，2003。

四、中文期刊與學術相關論文
王美珠，〈音樂理論家A. M. T. S. Boëthius的全人教育思想〉，《關渡音樂學刊》，第二期。國立臺北藝術大學音樂學院，2005，頁99–113。
陳亭竹，《禮儀劇的研究與探討》。天主教輔仁大學音樂系研究所碩士論文，2005。

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六、影音資料出版品
Bingen, Hildegard von. A Feather on the Breath of God. Hyperion, CD.30009.
---. Celestial Light. Telarc, CD.80456.
---. The Origin of Fire. Harmonia Mundi, CD.807327.
---. Ordo Virtutum. BBC, 2003. DVD.
---. Vision. München: Concorde, 2010. DVD.