莉莉．布朗惹 (Lili Boulanger, 1893-1918) 為法國二十世紀初期重要作曲家，身處時代交替的「世紀末」(fin de siècle)，受到法國浪漫派音樂、日耳曼創新和聲與象徵派語法影響，開創自我風格，為二十世紀法國音樂帶來嶄新的一頁。本論文以布朗惹的聯篇歌曲《天空裡的清澄》(Clairières dans le ciel) 為主軸，藉由文獻探討，理解其創作背景，並提供曲集中十三首歌曲的中譯與故事情節；透過樂曲分析，瞭解音符下蘊藏的詩意，並以此做演唱詮釋之建議。 　　此曲集歌詞皆選自象徵派詩人馮西．雅姆 (Francis Jammes, 1868-1938) 的詩集《憂傷》(Tristesses)，其具有關聯性的故事編排，多樣化的情感展現，加上布朗惹成熟的寫作手法，讓此作品成為一完整故事且富有戲劇張力的聯篇歌曲。她運用貫穿整曲集的主導動機 (leitmotiv)、樂曲間的調性關係與素材再現，將之串聯。透過音樂表現一致性，使之成為完整的聯篇歌曲集。 　　從此組作品中，可發現布朗惹的音樂風格與寫作手法。她善於使用音畫描繪詩詞，並藉由改變拍號刻劃心境轉變；速度表情記號與聲音指示明確，鋼琴伴奏大量反映歌曲情感，並以不同織度表現強烈的戲劇張力。筆者也以自身演唱經驗給予詮釋建議，期能對有意演唱此作品的歌者，有所助益。

Lili Boulanger (1893-1918) was an important French composer of the early twentieth century. Inspired and influenced by French romantic music, Germanic innovative harmony and symbolic techniques, Boulanger created her own style and brought a whole new generation to the French music in the fin-de-siècle period. In this study, Boulanger’s song cycle, Clairières dans le ciel, is taken as the focus. Through the literature review, the creation context of this song cycle is explained along with the Chinese translation of the lyrics and stories of the thirteen songs. Furthermore, the analysis of composition is conducted to understand the poetry behind the notes and used as the suggestions for song interpretation. The lyrics of this song cycle were all selected from Tristesses, a poetry collection by symbolist Francis Jammes (1868-1938). With a relevant arrangement of stories and a variety of emotions, coupled with Boulanger’s mature composition, this piece of work became a song cycle with a complete story plot and a dramatic tension. Boulanger cleverly connected all the dots of the songs, including the leitmotiv through the whole song cycle, the tonality between each song and the material reproduction, making the songs into a complete song cycle by representing the consistency of the music. From this song cycle, it can be easily to observe Boulanger’s music style and composition techniques. She is good at applying the tone-painting technique to describe poetry, using different time signatures to characterize the mood changes, giving clear instructions on tempo, expression marks and sounds, accentuating piano accompaniment to reflect the emotions of the songs, and introducing different textures to create strong dramatic tensions. Through the self singing experience, the author also gives interpretations and suggestions, hoping to help other singers who are interested in singing this piece of work.