臺灣博碩士論文加值系統

本論文研究主題為兩位日本作曲家平義久和三善晃的木琴獨奏曲《凝聚Ⅰ》及《漣漪》之分析與演奏詮釋。平義久的木琴獨奏曲《凝聚Ⅰ》於1975年譜寫而成，此作品在形式上超脫了一般傳統木琴語法，例如使用持續音營造空間、利用不同「延長記號」代替傳統休止符，或者以人聲做為特殊音效等，而三善晃的木琴獨奏曲《漣漪》在1999年完成，於記譜上亦突破傳統記法，例如無使用拍號、以多種「延長記號」代替傳統休止符及使用許多特殊符號等。
兩首木琴獨奏曲之間皆無使用傳統休止符，而使用各種不同的「延長記號」替代傳統休止符的功能，多種長短的「延長記號」，使音樂中的留白賦予更多的畫面及表情，亦塑造出不同的意象，且樂曲中皆使用人聲，充滿日本能劇之聯想。此兩首木琴獨奏曲除了突破傳統木琴語法，無論在曲中人聲的利用或是音樂中所代表的意涵，皆充滿著東方日本味，呈現出獨特的作曲風格，成為馬林巴琴中著名的作品之二。
本論文分為四章：第一章為緒論，說明研究動機與目的，及研究的範圍與方法；第二章探討平義久的生平，並進一步從其作品《凝聚Ⅰ》之創作背景談起，再進入到此曲的樂曲分析，在樂曲分析的基礎上，提出演奏詮釋之觀點；第三章首先溯及三善晃的成長歷程，接續介紹其作品《漣漪》之創作背景，再進行樂曲分析與詮釋；第四章為結語。

The purpose of this thesis is study the compositions and performances of two Marimba pieces by, Convergence I composed by Yoshihisa Taïra, and Ripple by Akira Miyoshi, from different aspects. Convergence Iwas finished in 1975. In terms of compositional format, this piece is way beyond tradition techniques. For examples, Yoshihisa Taïra employed continuants to build the spatial atmosphere. Traditional rests were replaced by distinct fermatas as well. Furthermore, human voices were also applied as special sound effects. In contrast, Akira Miyoshi finished Ripple in 1999. He broke the traditional scoring constraints in this composition.
For instances, none of any time signature was included. Different kinds of fermatas were substituted for traditional rests. In addition, many special symbolic notations were also employed.As described above, tradition rests were not used in these two Solo Marimbas.Instead, different kinds of fermatas were employed, which functioned as rests.Moreover, fermatas enabled the silence to express more vivid images and pictures with emotions. Besides, human voices were applied to both pieces,which is associated with the imagination of Japanese Noh. In addition to their free of traditional scoring constraints, either the utilization of human voices or the meanings of these two compositions were full of Japanese atmosphere.The unique compositional styles made them two of the most renowned pieces of marimba.
This thesis consists of four chapters. Chapter one is the introduction, specifying the motivation, purpose, scope, and methodology of this research. Chapter two studies the background of Yoshihisa Taïra and the creation of Convergence I,
followed by the analysis of this composition. Based on the analysis, the viewpoints of interpretation in performing this piece were presented. Chapter three elaborated the background of Akira Miyoshi and the creation of Ripple before analyzing and interpreting this composition. Chapter four is the conclusion.

目錄
誌謝.............................................................................................................................ⅰ
摘要............................................................................................................................ⅱ
Abstract......................................................................................................................ⅲ
目錄............................................................................................................................ⅳ
表格目錄...................................................................................................................ⅵ
圖目錄.......................................................................................................................ⅶ
譜例目錄..................................................................................................................ⅷ
第一章 緒論........................................................................................................... 1
第一節 研究動機與目的.................................................................................1
第二節 研究範圍與方法.................................................................................2
第二章 平義久與《凝聚Ⅰ》..............................................................................4
第一節 平義久的生平與《凝聚Ⅰ》之寫作背景......................................4
第二節《凝聚Ⅰ》樂曲分析...........................................................................7
第三節 《凝聚Ⅰ》演奏詮釋.......................................................................34
第三章 三善晃與《漣漪》..................................................................................45
第一節 三善晃的生平與《漣漪》之寫作背景......................................45
第二節《漣漪》樂曲分析...........................................................................49
第三節《漣漪》演奏詮釋...........................................................................80
第四章 結語...........................................................................................................95
參考資料.................................................................................................................97
附錄 平義久與三善晃作品列表........................................................................99

參考書目
中文書目

鄭英烈。《序列音樂寫作基礎》。上海：上海音樂出版社，1999。
吳祖強。《曲式與作品分析》。台北：世界文物出版社，1994。
陳言諾。《畢業音樂會之曲目研究＜彈跳a＞、＜小提琴無伴奏奏名曲第一號＞、＜精神危機＞、＜凝聚Ⅰ＞、＜瀑布＞、＜浪潮＞》。私立東海大學音樂研究所碩士論文，2009。
柯若櫻。《柯若櫻擊樂演奏會(含輔助文件：從東方禪學和武士道探討平義久的《凝聚 I 》)》。國立交通大學音樂研究所碩士論文，2005。
陳惠湄。《論日本作曲家平義久的聲樂曲Retour》。關渡音樂學刊11期，2009。
周怡秀。《節奏之美－從聽覺到視覺》。新紀元周刊17期，2007。

西文書目

Brown, Naomi Noro.Akira Miyoshi’s Didactic Works For Solo Piano. Dissertation of Louisiana State University and Agricultural and Mechanical College.

網路資源

http://www.oxfordmusiconline.com/subscriber/article/grove/music/49729?q=taira+yoshihisa&search=quick&pos=1&_start=1#firsthit (2012.2.21)
http://www.cdmc.asso.fr/en/compositeurs/biographies/taira_yoshihisa(2012.3.27)
http://www.oxfordmusiconline.com/subscriber/article/grove/music/49729?q=Yoshihisa+Ta%C3%AFra&search=quick&pos=1&_start=1#firsthit(2012.2.21)
http://sites.radiofrance.fr/francemusique/bio/fiche.php?numero=5000068(2012.2.21)
http://www.tokyo-concerts.co.jp/index.cfm?lang=eg&menu=artists&artistid=035(2012.2.23)
http://www.pas.org/Learn/CompetitionFestivalRepertoire.aspx(2012.4.15)

http://www.worldmarimbacompetition.com/2012/repertoire.html(2012.4.15)
http://www.steveweissmusic.com/product/ripple-akira-miyoshi/marimba-solo#full-description(2012.4.15)
http://www.epochtimes.com/b5/4/4/5/n501396.htm(2012.2.25)
http://harukafujii.com/main.html
“Akira Miyoshi .”東京コンサートTOKYO CONCERTS.23 Feb.2012
http://www.tokyo-concerts.co.jp/index.cfm?lang=eg&menu=artists&artistid=035(2012.2.23)

樂譜

Yoshihisa Taïra. ConvergenceⅠ. Paris：Rideau Rouge, 1977.
Akira Miyoshi. Ripple for Solo Marimba. Zen-On Music Co, 2009.

影音資料

ISHII: Thirteen Drums - BIS-CD-1303