臺灣博碩士論文加值系統

若利維相信藝術不是為了要被「理解」，而是要被「經驗」。因此他融合了古典的作曲技巧及新穎的音樂概念，再加上個人的經歷創作出長笛獨奏曲《五咒》。對於若利維來說，早期的儀式和宗教音樂才是屬於有意義的音樂，因此他為每一段咒文下標題，說明各個祈願。第一段咒文用了二元性這種複音音樂的手法來表示與談判者的溝通，結尾的大三度音程表示談判和平且成功。第二段咒文用一個動機代表祈禱，另一個動機則描寫生產前的陣痛，最後以最高音B表達了男嬰誕生的喜悅。第三段咒文用反覆樂句和樂段的手法強調農夫持續努力的工作，最後上升的泛音好像是跟超越空間的神靈溝通，祈禱能夠豐收。第四段咒文用長笛溫暖沈穩的音色表達人類內在的情緒，又用長笛最嘹亮寬廣的音域來描述宇宙的浩瀚無邊，結尾向上移調，象徵一種超越，就是個人、自然和神靈的合一。第五段咒文是一個總結，高音域的動機加上快速的中心音升G擴張，可視為大聲哭喊， 另一個中音域動機則可視為低聲啜泣；樂段當中描寫族長的葬禮，藉此表達若利維因喪母的痛苦情緒。但這雖然是一首哀歌，卻不是送葬曲，其中仍傳遞著肯定生命的信息。《五咒》符合了若利維所屬之「青年法蘭西」想要創造「活的音樂」的理念，而小組另一成員梅湘也推崇他成功地讓「魔法復歸音樂」。

Jolivet is convinced that art is not to be “understood” but “experienced.” He combines classical techniques with new concepts, and creates the Cinq Incantations pour fl�矌e seule with his personal experience. For him, only early ritual and religious music are significant as music; therefore, he gives each incantation a title to elaborate his prayer. The first incantation deals with duality, and he uses polyphony to illustrate the communication between the negotiators; the final consonant interval of a major third represents the peace wished for in the title. The second incantation has two motives: motive A represents praying, and motive B the early labor in pregnancy; the movement ends on a prolonged forte with the highest B of the flute to depict the pleasure for the newborn child. The music of the third incantation is very repetitive, for it is the farmer’s hardworking plow; the overtone at the end is the prayer for rich harvest to the deity in outer space. The fourth incantation expresses the human inner emotions with the warm timbre of the flute, and the vast universe with its resonant and broad sound. As at the closing of the third incantation, the upward transposition is symbolic of transcendence, here the unification of the individual, nature and the divine. The fifth incantation is a musical summation of all that has come before: the higher register represents the loud crying and screaming while the pivot note G-sharp expands quickly; the lower register sounds like weeping. The music describes the funeral of the chief, but Jolivet also expresses his painful mood at his mother’s death. Yet he means the music to be a lament, but certainly not a dirge, for the final movement is a life-affirming message. Jolivet’s Cinq Incantations not only fulfill the mission of his group “La Jeune France” to create living music, they also earn the compliment of his fellow member Messiaen that Jolivet “restores magic to music.”

演奏會曲目與輔助文件摘要 i
Recital Program and Paper Abstract ii
謝誌 iv
林怡瑾長笛畢業演奏會錄音CD v
目錄 vi

輔助文件：「魔法復歸音樂」：若利維長笛獨奏曲《五咒》
引論 1
第一章、 背景與傳統
1.1 若利維生平背景 4
1.2 若利維音樂師承 7
1.3 《五咒》音樂作曲背景 8
第二章、 作品分析與詮釋
2.1 祈求迎接談判者並和平會談 11
2.2 祈求即將誕生的小孩是個男嬰 14
2.3 祈求農夫努力耕種能夠帶來豐富的收穫 19
2.4 祈求人類與世界能有和平的溝通 22
2.5 在族長的葬禮中祈求他的靈魂得到保護 27
第三章、 特殊的作曲手法
3.1 反覆與並列 33
3.2 咒文標題在曲中的應用 35
結論 38
引用文獻 39
附件 40

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