蓋歐格•弗里德里希•韓德爾(Georg Friedrich Händel,1685-1759)於一七〇七年開始創作他的第一部神劇《時間與教化的勝利》(Iltrionfo del Tempoedel Disinganno)，並將晚年的創作心血奉獻於神劇，留下許多重要的經典作品。本研究以約翰‧布朗(John Brown.1752-1787)所提出的五種詠嘆調型態，探討韓德爾神劇中五首詠嘆調之型態、音樂風格與詮釋。

本文內容包含韓德爾生平與創作過程、韓德爾的神劇與詠嘆調，以及韓德爾五種型態之神劇詠嘆調：如歌似詠嘆調(Aria Cantabile)－選自《賽莫勒》(Semele)的〈喔 睡吧，為什麼你要離開我？〉(O Sleep, Why dost thy leave me?)、連綿詠嘆調(Aria di Portamento)－選自《彌賽亞》(Messiah)的〈我知道我的救世主還活著〉(I know that my Redeemer)、性格詠嘆調(Aria di Mezzo Carattere)－選自《賽莫勒》的〈無盡的快樂〉(Endless Pleasure)、說白詠嘆調(Aria Parlante)－選自《快樂、哀愁與中庸》(L'Allegro, il Penseroso ed il Moderato)的〈來旅行吧〉(Come and trip it)、炫技詠嘆調(Aria di bravura)－選自《約書亞》(Joshua)的〈喔，若我有猶八的里拉〉(Oh, had I Jubal’s lyre)。這五首詠嘆調，因不同詠嘆調型態的特性與風格，強調了音樂與文字之間的關係，亦強化了角色與劇情的表現力，形成相輔相成特有的音樂風格。

In 1707, Georg Friedrich Händel (1685-1759) composes his first Oratorio, Iltrionfo del Tempoedel Disinganno. During his later years, Oratorio is the genre he devotes time mostly to, and in these oratorios, many of arias are deemed as classics. Referring to the five types of aria proposed by John Brown(1752-1787), the author analyzes Händel’s arias from his Oratorios to find out his musical characteristics and interpretation.

The whole dissertation comprises biography of Händel, the path to his Oratorios’ completion, and most importantly, the “five types” above mentioned：Aria Cantabile, Aria di Portamento, Aria di Mezzo, Aria Parlante, and Aria di bravura. These selected arias from Händel’s Oratorios to analyze are, respectively, “O Sleep, Why dost thy leave me?” from Semele, “I know that my Redeemer” from Messiah, “Endless Pleasure” from Semele, “Come and trip it” from L'Allegro, il Penseroso ed il Moderato, and “Oh, had I Jubal’s lyre” from Joshua. Although the five arias have their unique styles, distinguished from each one, still they unanimously reflect Händel’s composition traits: tight bonds between music and lyrics, powerful expression of characters and plots, which converging into an exclusive taste of his own.

目 錄
中文摘要 i
英文摘要 ii
目錄 iii
一、前言 1
二、韓德爾生平與創作過程 2
三、韓德爾的神劇與詠嘆調 7
四、韓德爾五種型態之神劇詠嘆調 15
1.〈喔 睡吧，為什麼你要離開我〉(O Sleep, why dost thy leave me? ) 選自《賽莫勒》(Semele) 15
2.〈我知道我的救世主還活著〉(I know that my Redeemer liveth) 選自《彌賽亞》(Messiah) 18
3.〈無盡的快樂〉(Endless Pleasure) 選自《賽莫勒》 22
4.〈來旅行吧〉(Come and trip it) 選自《快樂、哀愁和中庸》
(L'Allegro, il Penseroso ed il Moderato) 25
5.〈喔，若我有猶八的里拉〉(Oh, had I Jubal's lyre)選自《約書亞》
(Joshua) 28
五、結語 33
六、參考文獻 35
七、附錄一：韓德爾五首神劇詠嘆調之歌詞翻譯 37
八、附錄二：嚴宥逸碩士音樂會節目單 39

參考文獻


Best,Terence. Handel Collections and Their History. New York : Oxford University Press, 1993.

Brown,John. Letters upon the Poetry and Music of the Italian Opera; Addressed to a friend. London：Forgotten Books, 1789.

Brown,John. Letters upon the Poetry and Music of the Italian Opera: Addressed to a Friend. Michigan: University of Michigan Library 2008.

Bennett, Joseph. “The Influence of Handel on Music in England” The Musical
Times and Singing Class Circular18,No.413(1877)：321-324.

Dean,Winton. Handel’s Dramatic Oratorios and Masques New York：Oxford University Press,1959.

Dean,Winton. “The Dramatic Element in Handel's Oratorios.” Proceedings of
the Royal Musical Association79,(1952-1953)：33-49.

Edward, F. Menerth. “Singing in Style: Baroque.” Music Educators Journal
52, No. 6 (1966)：73-107.

Erich,Otto. Handel : A Documentary Biography. New York : Da Capo Press, 1974.

Elliott,Martha. Singing in Style : A Guide to Vocal Performance Practices. New Haven : Yale University Press, 2006.

Hill,John Walter. Baroque Music : Music in Western Europe, 1580-1750. New York : W.W. Norton, 2005.

J. Peter Burkholder. A History of Western music. 9th ed. New York: W.W.
North & CO.,2014.

LaRue,C. Steven. Handel and His Singers : the Creation of the Royal Academy
Operas, 1720-1728. New York : Oxford University Press, 1995.

Landgraf, Annette. and David Vickers. The Cambridge Handel Encyclopedia.
New York : Cambridge University Press, 2009.

Larsen, Jens P. Handel, Hayden and the Viennese Classical Style. London：
UMI Research Press,1988.

Lewis, Anthony. “Handel and the Aria.”Proceedings of the Royal Musical
Association 85,(1958-1959)：95-107.

Manfred F.,Bukofzer. Music in the Barque Era：from Monteverdi to Bach.
New York：w.w. Norton, 1947.

Michael O'Connell and John Powell,“Music and Sense in Handel's Setting of
Milton's L'Allegro and Il Penseroso.”Eighteenth-Century Studies12, no.1
(1978)：46-16.

Philip G.,Downs. Classical Music：The Era of Haydn, Mozart, and Beethoven.
New York：w.w. Norton, 1992.

Robinson, M. F. “The Aria in Opera Seria, 1725-1780” Proceedings of the
Royal Musical Association88,( 1961 - 1962)：31-43.

Smith,Ruth. Handel’s Oratorios and Eighteen-century Thought. New York : Cambridge University Press, 1995.

Smither,Howard E. A History of the Oratorio. The Oratorio in the Baroque
Era Protestant Germany and England. Vol.2. Chapel Hill : University of
North Carolina Press, 1977.

Strohm,Reinhard. Essays on Handel and Italian Opera. New York :
Cambridge University Press, 1985.

The New Grove’s Dictionary of Music and Musicians (2001). S.v. “Hicks, Anthony, ” by Stanley Sadie.

The New Grove’s Dictionary of Music and Musicians (2001). S.v. “McClymonds, Marita P.,” by Stanley Sadie.

The Harvard Dictionary of Music(1944). S.v.“Lander,Don M.,”,by Willi Apel.

The Oxford Companion to Music(1983). S.v.“Ward,John O.,”, by Percy A.
Scholes.

樂譜
Handel, George Frideric “45 Arias form Opera and Oratorio” Volume I. For Voice and Piano. New York：Internation Music,1959.

Handel, George Frideric “45 Arias form Opera and Oratorio” VolumeⅡ. For Voice and Piano. New York：Internation Music,1959.

Handel, George Frideric “45 Arias form Opera and Oratorio” VolumeⅢ. For Voice and Piano. New York：Internation Music,1959.