(3.237.97.64) 您好!臺灣時間:2021/03/09 08:41
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果

詳目顯示:::

我願授權國圖
: 
twitterline
研究生:吳紋綾
研究生(外文):Wen-Ling Wu
論文名稱:從Berio、Rochberg的作品探討拼貼(Collage)之手法與理念
論文名稱(外文):The Study on the Technique and Idea of Collage Compositions by Berio and Rochberg
指導教授:顏綠芬顏綠芬引用關係
指導教授(外文):Lu-Fen Yen
學位類別:碩士
校院名稱:國立臺北藝術大學
系所名稱:音樂學研究所碩士班
學門:藝術學門
學類:音樂學類
論文種類:學術論文
論文出版年:2011
畢業學年度:99
語文別:中文
論文頁數:258
中文關鍵詞:拼貼引用貝里歐洛克柏格《交響》《魔幻劇場的音樂》
外文關鍵詞:CollageQuotationLuciano BerioGeorge RochbergSinfoniaMusic for the magic theater
相關次數:
  • 被引用被引用:2
  • 點閱點閱:1927
  • 評分評分:系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔
  • 下載下載:41
  • 收藏至我的研究室書目清單書目收藏:2
1945年代以降,序列主義之發展,深深影響了二戰後的西方藝術音樂。在當時的時空背景下,幾乎所有的作曲家都投入了序列主義的創作。但是,隨著時間的推移,對於序列主義作曲技法,例如,完全控制作品中的音高、節奏、強度等要素,以及如教條式般的思考模式,漸漸的,讓一些作曲家察覺到,音樂與聽眾呈現疏離現象,以及,在表達自己的創作意念上的侷限。序列主義作曲技法之外的音樂思潮中,譬如:機遇音樂(Chance music)、電子音樂(Electronic music)、極簡主義音樂(Minimalist music)隨之興起,而拼貼(Collage),這種藉由組合異質素材、技法而得新的藝術形態,在音樂上通過多元的引用、風格或是織體並置而成的一種作曲手法與理念,也為許多作曲家所用與盛行,並且產生了為數不少的作品,特別是在1960年代這個時期。本文以拼貼手法為中心出發點,先著手對於拼貼一詞運用之字義探討,以及對於拼貼於二十世紀之視覺藝術與音樂藝術上之歷史脈絡做瞭解,接續探討在1960年代這個時期的作曲家,為什麼會開始將以往的音樂引入作品中,究竟受到哪些因素影響,用以追溯拼貼於二十世紀音樂史上的發展。在使用拼貼之音樂作品中,本文擇取貝里歐(Luciano Berio, 1925-2003)之《交響》(Sinfonia, 1968-69)第三樂章與洛克柏格(George Rochberg, 1918-2005)之《魔幻劇場的音樂》 (Music for the magic theater, 1965)第一幕來作為拼貼手法於音樂實例上的探討。在1960年代的共時空下,分處不同地域的兩位作曲家,除了兩者之作品可做為拼貼手法在音樂作品上實驗的一個典型的呈現之外;在音樂載體上對於馬勒與莫札特的使用,以及在音樂文本和文學文本的聯繫上、所引發之音樂意涵上,與對於使用拼貼手法之理念,這兩位作曲家與其作品,共同顯示了具共項與異項的呈現,這箇中之微妙的相似與差異,是筆者最終選取此兩首作品做為音樂個案探討的原因。最後,本文將會對於使用拼貼手法而成的作品,提出筆者的一些反思。

Since 1945, the development of serialism had influenced Western music after World War II. At that time, almost all composers devoted themselves to the creation of serialism. Serialism composition techniques gradually evolved with time, including works in complete control of pitch, rhythm, strength and other factors, as well as the way of thinking. When expressing their creative ideas, some composers became conscious of the alienation with the audiences and limitations of their music. In addition to the composition techniques in serialism, other techniques and thoughts on music included: chance music, electronic music, minimalist music emerged along with serialism; the collage, which through the combination of heterogeneous raw material and techniques spread out the new art form, furthermore via the diverse musical quotations and the juxtaposition of style or texture formed the technique and idea of composition, also used by many composers and prevalence, as well as produced a large number of compositions, especially during the 1960s.
This thesis discusses issues from the perspective of collage. First, author will examine the meaning and application of collage and then explore the historical relationship between collage and visual and music art of twentieth century. Then, to trace the development of collage on the twentieth century music, an analysis on why 1960s composers began to quote past compositions and what factors affecting and causing them to do so is presented. Among collage compositions in music, this thesis uses the third movement of Luciano Berio(1925-2003)’s Sinfonia(1968-69) and the first act of GeorgeRochberg(1918-2005)’s Music for the magic theater(1965) as music instances of the collage compositions in music. Not only works of those two contemporary composers who lived in 1960s but in different regions can be used as a typical presentation of collage on the experimental work in music but also their works demonstrate common and different characteristics in term of using Mahler and Mozart as carrier (support, bearer) in music and the idea for the use of collage. Those subtle similarities and differences are of the reason why author select these two music compositions as case study. Finally, this thesis will bring up some reflections on using the technique and idea of collage in music compositions.

誌謝 i
目次 ii
圖例目錄 iv
譜例目錄 v
表格目錄 viii
凡例 ix
前言 x

第一章 緒論 1
第一節 研究動機 1
第二節 文獻探討 1
第三節 研究對象與目的 9

第二章 拼貼在視覺藝術與音樂藝術上的運用 13
第一節 視覺藝術上之拼貼 13
第二節 西方現代藝術中拼貼藝術之誕生與發展 18
第三節 音樂藝術上之拼貼 23

第三章 拼貼於二十世紀音樂史上的發展 31
第一節 回溯與探究 31
第二節 1960年以來音樂局面之審視─拼貼音樂的興起與產生 38
第三節 「並置風格」:拼貼大行其道 39

第四章 貝里歐(L. Berio)的拼貼實驗─《交響》(Sinfonia, 1968-69)第三樂章 45
第一節 貝里歐音樂生涯、音樂創作面面觀 45
第二節 《交響》之預示 53
第三節 《交響》第三樂章 54
第四節 貝里歐的音樂拼貼實驗 85
第五節 從拼貼手法究其表達理念 98

第五章 拼貼手法於洛克柏格(G. Rochberg)《魔幻劇場的音樂》(Music for the Magic Theater, 1965) 第一幕之探討 101
第一節 洛克柏格之生平概述 102
第二節 小說《荒野之狼》與《魔幻劇場的音樂》之聯繫 109
第三節 《魔幻劇場的音樂》 之作品概述 116
第四節 洛克柏格的拼貼實驗 122
第五節 小結:洛克柏格《魔幻劇場的音樂》與音樂理念 162

第六章 兩首拼貼作品之比較 173
第一節 音樂載體的探討─馬勒與莫札特 173
第二節 素材之擇取 175
第三節 拼貼的手法 177
第四節 使用拼貼之理念 178

第七章 結論 183

參考書目 190
附錄1《交響》─作曲家說明原文 202
附錄1-1《交響》─作曲家說明中譯 205
附錄2 Muisc for the Magic Theater Preface 207
附錄2-1《魔幻劇場的音樂》Preface 中譯 211
附錄3《交響》第三樂章歌詞 215
附錄4《魔幻劇場的音樂》第一幕樂譜 221

一、書籍
王秀雄、楊雪霞等編譯。《西洋美術辭典》。臺北:幼獅出版社,1995[民84]。
朱建。《二十世紀音樂漫步》。廈門:廈門大學出版社,2005。
光復書局大美百科全書編輯部。《大美百科全書》。臺北市:光復書局,民79。
汪介侯譯。《世界工藝叢書5拼貼藝術》。臺北:世界文物出版社,民68年8月。
余光中。《蓮的聯想》。臺北:九歌出版社,2007重排初版;2008重排初版2印。
邵大箴主編。《現代藝術辭典》。北京:中國國際廣播出版社出版,1989。
陳克華。《騎鯨少年》。臺北:蘭亭書店出版社,民75。
陳銀輝。《剖析現代美術》。臺北:雄師出版社,民64。
雄獅西洋美術辭典編輯委員會編譯。《西洋美術辭典-雄獅美術辭典大系》(臺北市:雄獅圖書股份有限公司,2002[民91]。
臺灣中華書局股份有限公司;美國大英百科全書公司聯合編輯。《簡明大英百科全書中文版》(Concise Encyclopedia Britannica Taiwan Edition)。臺北市:臺灣中華書局股份有限公司,民77。
潘皇龍。《讓我們來欣賞現代音樂》。臺北市:全音樂譜出版社,民76[1987]。
Albright, Daniel. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press, 2004.
Altmann, Peter. Sinfonia von Luciano Berio. Eine analytische Studie. Vienna: Universal Edition, 1977.
Beckett, Samuel. The unnamable. Translated from french by the author. New York: Grove Press Inc., 1958.
Berio, Luciano. Two Interviews. (with Rosanna Dalmonte and Bálint András Varga). Translated and edited by David Osmond-Smith. London: Boyars, 1985.
Burkholder , J. Peter, Donald J. Grout and Claude V. Palisca. A History of Western Music. Seventh edition. New York: W. W. Norton and Co., 2006.
Boulez, Pierre. Orientations. Edited by Jean-Jacques Nattiez, translated by Martin Cooper. Cambrige, Massachusetts : Harvard University Press, 1986.
Chilvers, Ian, and Harold Osborne, eds. The Oxford dictionary of art. Oxford: Oxford University Press, 1988.
Chilvers, Ian. A dictionary of twentieth century art . Oxford: Oxford University Press, 1996.
Cope, David. New directions in music. New York: Schirmer Books; London: Collier Macmillan Publishers, 1977.
__________. New directions in music. Fourth edition. Dubuque, Iowa: Wm. C. Brown Publishers, 1984.
__________. Techniques of the contemporary composer. New York: Shirmer, 1997.
Dixon, Joan DeVee. George Rochberg : a bio-bibliographic guide to his life and works. Stuyvesant, New York : Pendragon Press, 1992.
Emons, Hans. Montage – Collage – Musik. Berlin: Frank & Timme, 2009.
Ewen, David, comp. and ed. Composers since 1900. New York: The H. W. Wilson company, 1969.
Griffiths, Paul. Modern Musc and After:Directions since 1945. Oxford: Oxford University Press, 1995.
Heister, Hanns-Werner, hrsg. Geschichte der Musik im 20. Jahrhundert: 1945-1975. Laaber: Laaber-Verlag, 2005.
Kamien, Roger. Music : an appreciation. New York: McGraw-Hill, 2004.
Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. Third edition. New Jersey: Upper Saddle River, 2006.
Kramer, Jonathan . The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books; London: Collier Macmillan. 1988.
Lochhead, Judy, and Joseph Auner, eds. Postmodern Music / Postmodern Thought . London: Routledge, 2002.
Metzer, David. Quotation and Cultural Meaning in Twentieth-Century Music. Cambridge: Cambridge University Press, 2003.
Meyer, Leonard B. Emotion and meaning in music . Chicago: University of Chicago Press , 1956.
_______________. Music, the arts, and ideas : patterns and predictions in twentieth-century culture . Chicago and London: University of Chicago Press, 1994.
_______________. Explaining Music: Essays and Explorations. Berkerley: University of California Press, 1973.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: W. W. Norton & Company, Inc., 1991.
_______________ , ed. Modern Times: from World War I to the Present. London: Macmillan Press Ltd, 1993.
Morton, Brian, and Pamela Collins. Contemporary composers. Chicago and London: St. James press, 1992.
Osborne, Harold, ed. The Oxford Companion to Art . New York: Oxford University Press, 1970.
Osmond-Smith, David. Playing on Words: A Guide to Luciano Berio''s Sinfonia. London: Royal Musical Association; Cambridge: B. Jordan Music Books [distributor], 1985.
___________________. Berio. Oxford studies of composers 24. Oxford and New York: Oxford University Press, 1991.
Ratner, Leonard G. Classic Music: Expression, Form, and Style. New York: Schirmer Books, 1980.
Roberts, David. Art and Enlightenment: Aesthetic Theory after Adorno. Lincoln, Nebraska: University of Nebraska Press, 1991.
Rochberg, George. The aesthetics of survival : a composer''s view of twentieth-century music. Edited and with an Introduction by William Bolcom. Ann Arbor : University of Michigan Press, 1984. (另有revised &expanded edition, 2004).
Roig-Francoli, Miguel A. Understanding Post-Tonal Music. Boston: McGraw-Hill, 2008.
Salzman, Eric. Twentieth- Century music:An Introduction.Third edition. Englewood Cliffs, New Jersey: Prentice Hall, 1967.
Schwartz, Elliott, and Daniel Godfrey. Music since 1945 : issues, materials, and Literature. New York: Schirmer Books ; Toronto: Maxwell Macmillan Canada Inc.,1993.
Simms, Bryan R. Music of the twentieth century : style and structure. New York: Schirmer Books ; London: Collier Macmillan Publishers, 1986.
Sitsky, Larry, ed. Music of the twentieth-century avant-garde a biocritical sourcebook. Westport, Conn. ; London : Greenwood Press, 2002.
Sonntag, Brunhilde. Untersuchungen zur Collagetechnik in der Musik des 20. Jahrhunderts. Regensburg: Gustav Bosse Verlag, 1977.
Stacey, Peter F. Contemporary tendencies in the relationship of music and text with special reference to Pli selon pli (Boulez) and Laborintus II (Berio). New York: Garland Pub., 1989.
Straus, Joseph. Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition. Combridge: Harvard University Press, 1990.
Taruskin, Richard. Music in the Late Twentieth Century. Oxford; New York: Oxford University Press, 2005.
Watkins, Glenn. Soundings: Music in the Twentieth Century. New York: Schirmer Books, 1988.
_____________. Pyramids at the Louvre : music, culture, and collage from Stravinsky to the postmodernists. Cambrige, Massachusetts/ London, England: The Belknap Press of Harvard University Press, 1994.
Weiner, Marc A. Undertones of Insurrection: Music, Politics, and the Social Sphere in the Modern German Narrative . Lincoln: University of Nebraska Press, 1993.


二、中譯書目與編著書目
卡門 (Kamien, R.)著。《音樂 : 認識與欣賞》,第八版(Music: an appreciation , 8e )( 王美珠、洪崇焜、黃瑞芬、陳美鸞、楊湘玲譯)。臺北市:麗文文化事業股份有限公司,2005。
伍佛朗(Wolfram, E.)著。《拼貼藝術之歷史》(History of Collage) (傅嘉琿譯)。臺北市:遠流出版事業股份有限公司,1994,1995[民83]。
貝克特(Beckett, S.)著。《等待果陀‧終局》(Waiting for Godot‧Endgame) (廖玉如譯注)。臺北市:聯經出版事業股份有限公司,2008,7-69。
波特萊爾(Baudelaire, C.)著。《現代生活的畫家》(Le Peintre de la vie moderne) (郭宏安譯)。杭州市:浙江文藝出版社,2007。
洛吉(Lodge, D.)著。《小說的五十堂課》(The art of fiction) (李維拉譯)。臺北縣新店市:木馬文化出版;遠足文化發行,2006[民95]。
梅耶(Mayer, R.)著。《藝術名詞與技法辭典》(A dictionary of art terms and techniques)(貓頭鷹出版社編譯小組譯)。臺北:貓頭鷹出版社,2002[民91]。
密赫爾斯(Michels,U.)著。《音樂圖驥 》(dtv-Atlas Musik) (劉岠渭、楊建章、江玉玲、王美珠、徐玫玲、盧文雅、金立群譯)。臺北市:小雅音樂有限公司,2006。
達姆斯(Damus, M.)著。《造形藝術在後資本主義裡的功能》(Funktionen der
Bildenden Kunstim Spatkapitalismus) (吳瑪俐譯)。台北:遠流出版社,1996。
廖炳惠編著。《關鍵詞200:文學批評研究的通用辭彙編》。臺北市:麥田出版,2003。
赫塞(Hesse, H.)著。《荒野之狼》(Steppenwolf)(施智璋譯)。臺北市:志文出版社,民國63年。
赫塞(Hesse, H.)著。《荒野之狼》(Steppenwolf)(蕭竹譯)。臺北市:國家書店有限公司,民國68年。
邁爾斯(Myers, B. S.)、雪莉‧邁爾斯(Myers, Shirley D.)編著。《20世紀美術辭典》(Dictionary of 20 th Cenury Art) (何振志、杜定宇譯)。上海:人民美術出版社,1988。
鐘子林編著。《西方現代音樂概述》。北京:人民音樂出版社,1991。


三 、期刊論文、編輯著作中之單篇文章
李彥頻。〈論摘引手法在西方音樂中的美學功能及其意義〉。中央音樂學院學報2009年第一期:106-120。
Berio, Luciano. “ The Composer on His Work: Meditation on a Twelve-Tone Horse(1968).” In Classic Essays On Twentieth-Century Music: A Continuing Symposium, selected and annotated by Richard Kostelanetz and Joseph Darby; Matthew Santa (Assistant editor). New York: Schirmer Books, 1996. 167-171.
Budde, Elmar. “Zitat, Collage, Montage.” In Die Musik der sechziger Jahre : zwölf Versuche. Hrsg. von Rudolf Stephan. Mainz : B. Schott, [c1972] . 26-38.
___________. “ Zum dritten Satz der 〉Sinfonia〈 Von Luciano Berio.” In Die Musik der sechziger Jahre : zwölf Versuche. Hrsg. von Rudolf Stephan. Mainz : B. Schott, [c1972] . 128-144.
Flynn, George W. “ Listening to Berio''s Music”. The Musical Quarterly, Vol. 61, No. 3 (Jul., 1975): 388-421.
Hicks, Michael. “ Text, Music, and Meaning in the Third Movement of Luciano Berio''s Sinfonia. ” Perspectives of New Music, Vol. 20, No. 1/2 (Autumn, 1981 - Summer, 1982): 199- 224.
Kramer, Jonathan D. “Beyond unity: toward an understanding of musical postmodernism.” In Concert music, rock, and jazz since 1945 essays and analytical studies, ed. Elizabeth West Marvin and Richard Herman. NewYork: University of Rochester Press, 1995. 11-33.
Losada, Cristina Catherine. “ The Process of Modulation in the Musical Collage.” Music Analysis 27/ii–iii (2008): 295-336.
_____________________. “ Between Modernism and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio, and Zimmermann. ” Music Theory Spectrum, Vol. 31, No. 1 (Spring, 2009): 57-100.
Morgan, Robert P. “ Tradition, Anxiety, and the Current Musical Scene.” In Authenticity and Early Music: a Symposium, ed. Nicholas Kenyon. Oxford: Oxford University Press, 1988. 57-82.
Osmond-Smith, David. “ Berio and the Art of Commentary. ” The Musical Times, Vol. 116, No. 1592 (Oct., 1975): 871-872.
__________________. “ From Myth to Music: Levi-Strauss''s "Mythologiques" and Berio''s "Sinfonia".” The Musical Quarterly, Vol. 67, No. 2 (Apr., 1981): 230-260.
Ringer, Alexander. “ The Music of George Rochberg.” The Musical Quarterly, Vol. 52, No. 4 (Oct., 1966): 409-430.
Reise, Jay. “ Rochberg the Progressive. ” Perspectives of New Music, Vol. 19, No. 1/2 (Autumn, 1980 - Summer, 1981): 395- 407.
Rochberg, George. “Can Art Survive Modernism?(A Discussion of the Characteristics, History, and Legacy of Modernism)” Critical Inquiry Vol. 11, No. 2 (Dec., 1984): 317-340.
Schnittke, Alfred . “ The Third Movement of Berio''s "Sinfonia". Stylistic Counterpoint, Thematic and Formal Unity in Contex of Polystylistics, Broadening the Concept of Thematicism (1970s). ” In A. Schnittke reader, ed. Alexander Ivashkin, trans. John Goodliffe. Bloomington: Indiana University Press (Russian music studies), 2002 , 216-224.


四、Grove Music Online. Oxford Music Online與辭典辭條查詢
Berio, Luciano
Osmond-Smith, David. "Berio, Luciano." Grove Music Online. Oxford Music Online. 29 Jul. 2010<http://www.oxfordmusiconline.com/subscriber/article/grove/music/02815>.
Borrowing
Burkholder, J. Peter. "Borrowing." Grove Music Online. Oxford Music Online. 6 Apr. 2010<http://www.oxfordmusiconline.com/subscriber/article/grove/music/52918pg12>.
Collage
Burkholder, J. Peter. "Collage." Grove Music Online. Oxford Music Online.6 Apr. 2010<http://www.oxfordmusiconline.com/subscriber/article/grove/music/53083>.
"Collage." The Oxford Dictionary of Music, 2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online. 20 Apr. 2010 <http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e2274>.
Fricke, Stefan. "Collage." Die Musik in Geschichte und Gegenwart. Second edition. Ed. Ludwig Finscher, Vol.2. Kassel: Bärenreiter, 1994. 938-943.
Quotation/ Zitat
Burkholder, J. Peter. "Quotation." Grove Music Online. Oxford Music Online. 6 Apr. 2010<http://www.oxfordmusiconline.com/subscriber/article/grove/music/52854>.
Gruber, Gernot. "Zitat." Die Musik in Geschichte und Gegenwart. Second edition. Ed. Ludwig Finscher, Vol.11. Kassel: Bärenreiter ,1994 . 2402-2411.
Rochberg, George
Clarkson, Austin, and Steven Johnson. "Rochberg, George." Grove Music Online. Oxford Music Online. 8 Nov. 2010 <http://www.oxfordmusiconline.com/subscriber/article/grove/music/23617>.


五、學位論文
李豐旭。 「從美國新浪漫主義探討音樂創作的理念」。碩士論文,國立臺灣師範大學音樂系碩士班作曲組,民國92年。
邱雅玲。「由欽默曼《迂敝國王的宴會音樂》看音樂中的拼貼與擬諷」。碩士論文,東吳大學音樂學研究所,民國86年。
黃雲暄。「貝里歐《長笛獨奏曲模進》之研究」。碩士論文,國立臺北藝術大學管絃與擊樂研究所碩士班,民國95年。
Losada, Cristina Catherine. “A theoretical model for the analysis of collage in music derived from selected works by Berio, Zimmerman and Rochberg. ” Ph. D. diss., City University of New York, 2004.
MacKenzie, James Christopher. “The text of time: Musical quotation and historicism in Berio''s "Sinfonia". ” M.A. diss., The University of Western Ontario (Canada), 1995.
Robinson, Lisa Brooks. “Mahler and postmodern intertextuality.” Ph. D. diss., Yale University, 1994.


六、樂譜
Berio, Luciano
Sinfonia © 1972 London: Universal Edition. UE 13783
Beethoven, Ludwig van
Violin Sonata No.10, Op.96 © 1901 Leipzig: C.F. Peters, Ed. 3031, n.d.(1901). Plate 8762
Mahler, Gustav
symphony no.2 © 1910 Vienna: Universal Edition. Plate UE 2933
symphony no.9 © 1912 Vienna: Universal Edition. (IMSLP)
Mozart, Wolfgang Amadeus
Divertimento in B-flat major, K.287/271h ©1880 Leipzig: Breitkopf & Härtel PlateW.A.M. 287.
Rochberg, George
Music for the magic theater for a Chamber Ensemble of 15 Players (Study Score –Reproduction of the Composer’s Manuscript) © (出版年代樂譜未標示) PA: Theodore Presser Company. 416-41084.


七、有聲資料
Berio, Luciano. Sinfonia The Swingle Singers New York Philharmonic. World Première Recording. Conducted by the composer. LP. Columbia Stereo MS7268.
___________ . Sinfonia / Eindrücke. Performed by Orchestre National de France & New Swingle Singers feat. Conducted by Pierre Boulez. Audio CD. Paris: Erato/Radio France (ECD 88151). April 28, 1992.
Rochberg, George. Music for the Magic Theater; Octet: A Grand Fantasia. Performed by The New York Chamber Ensemble. Conducted by Stephen Rogers Radcliffe. Audio CD. New World 80462-2. November 22, 1994.


八、參考網站
畢卡索:有籐椅的靜物
http://arts.nthu.edu.tw/programs_show.php?fdkind2=310&&my_pro=2&&time=2&&fdsn=57 (2010年4月20日查詢)
畢卡索:有籐椅的靜物
http://vr.theatre.ntu.edu.tw/fineart/chap01/chap01-04.htm(2010年4月20日查詢)
畢卡索:有籐椅的靜物
http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/263.html (2010年4月20日查詢)
布拉克:葡萄牙人
http://xycolsen.blogspot.com/2008/11/art-of-georges-braque.html (2010年4月20日查詢)
布拉克:有水果盤和杯子的靜物
http://ed.arte.gov.tw/uploadfile/periodical/1632_pr0001_0158_00800089.pdf (2010年4月20日查詢)
Griffiths, Paul. “Luciano Berio is dead at 77 : Composer of mind and heart.” The New York Time
http://www.nytimes.com/2003/05/28/arts/luciano-berio-is-dead-at-77-composer-of-mind-and-heart.html?pagewanted=1(2010年 4月30日查詢)
「開放的作品」和「詮釋與過度詮釋」節一之一
http://neof.pixnet.net/blog/post/11459767(2010年10月30日查詢)
西方後現代文藝理論基本概念(6)─拼貼
http://www.lunwen100.net/html/yishulunwen/yishulilun/2010/0206/89051_6.html(2010年11月29查詢)
Music for the magic theater
www.answers.com/topic/music-for-the-magic-theater(2010年11月29日查詢)
序列主義
http://giants.myweb.hinet.net/julie/211.html (2010年11月30日查詢)
NSO 國家交響樂團 部落格
http://www.wretch.cc/blog/nsoalbum/519095 (2010年12月10日查詢)
國立編譯館學術名詞資訊網—名詞簡索─ Luciano Berio
http://terms.nict.gov.tw/search_b1.php (2011年1月18日查詢)
序列主義
http://zh.wikipedia.org/zh-hk/%E5%BA%8F%E5%88%97%E4%B8%BB%E4%B9%89(2011年1月19日查詢)
Charles Edward Ives
http://blog.chinatimes.com/zeus/archive/2009/03/26/389155.html)(2011年1月31日查詢)

QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top
系統版面圖檔 系統版面圖檔