臺灣博碩士論文加值系統

本場音樂會起始於伊阿尼斯·澤納基斯（Iannis Xenakis, 1922-2001）所作的《彈跳Ａ》（Rebond A），與另兩首性質迥異的作品，克里斯托弗·迪恩（Christopher Deane）《安靜的大廳練習曲》（Etude for A Quite Hall）與卡爾海因茨·斯托克豪森（Karlheinz Stockhausen, 1928-2007）《循環》（Zyklus für einen Schlagzeuger）；下半場為莫爾頓·費德曼（Morton Feldman, 1926-1987）《丹麥國王》（King of Denmark），布魯斯·漢米爾頓（Bruce Hamiton）《區間》（Interzones）與伊阿尼斯·澤納基斯《彈跳Ｂ》（Rebond Ｂ），共六首作品，內容涵括馬林巴、鐵琴與綜合打擊樂作品。
《彈跳Ａ》，為純鼓類樂器構成的綜合打擊樂作品，切合主題，如何使音色保有彈性就顯得十分重要，尤其於作品後半段音符愈發密集、正確的複合節奏律動與及高速的運棒能力，是本作品的重大挑戰；音樂會的最後一首《彈跳Ｂ》則是此作品的第二部分，相對於前者更富有旋律性與明確的動機，出現清晰的兩個聲部，裝飾音與重音記號（Accent）的使用也比前者更為細緻。另兩部的作品是《安靜的大廳練習曲》與《循環》。前者為馬林巴（Marimba）作品，音樂氛圍十分緩和，除卻樂曲中間由密集快速音群構成的段落外，速度十分緩慢，將此曲安排于第二首是為了使觀眾有足夠的緩和時間，極大的風格差異亦能保持其新鮮感；《循環》是斯托克豪森極具代表的作品，亦是其一次大膽的嘗試，以序列音樂（Serialism）為主幹，加上機遇音樂（Aleatory music）的可能性，使得此由木質、金屬、皮革等多種材質樂器構成的作品，充滿眾多可能性。
下半場第一首為《丹麥國王》，為費德曼極具實驗精神的作品，作者本身對聲音有超越常人的執著，對於聲音的本質極為追求，此作品為其「不確定性音樂」（Indeterminacy）的代表，曲中並未指定樂器，而是以文字描述聲響，引導演奏者追尋自己腦海中的音色，考驗其對聲音的創造性、敏感度與對聲音使用的大局觀。
此音樂會還未提及的最後一首作品為《區間》，是一首使用鐵琴搭配電子音樂演奏的作品，可從演奏者與電子聲音的互動中，或競技或配合，相互呼應又或交錯，是此作品最大樂趣之所在，豐富了聽覺的感官，也為本場音樂會增添不一樣的聲響要素與刺激。

The concert begins with "Rebond A" by Iannis Xenakis (1922-2001), followed by two contrasting pieces: "Etude for a Quiet Hall" by Christopher Deane and "Zyklus für einen Schlagzeuger" by Karlheinz Stockhausen (1928-2007). The second half features "King of Denmark" by Morton Feldman (1926-1987), "Interzones" by Bruce Hamilton, and "Rebond B" by Iannis Xenakis, totaling six pieces that encompass marimba, vibraphone, and various percussion instruments.
"Rebond A" is a comprehensive percussion piece consisting solely of drum instruments. It highlights the importance of maintaining tonal flexibility, especially as the piece intensifies in the second half with denser notes and complex rhythmic patterns. The challenge lies in precise compound rhythms and high-speed stick handling. The concert's final piece, "Rebond B," is the second part of this work. Compared to "Rebond A," it is more melodic and features clearer motifs, with distinct two-part voicing and more refined use of grace notes and accents.
The other two pieces are "Etude for a Quiet Hall" and "Zyklus." The former is a marimba piece with a very relaxed atmosphere, except for a segment of dense, rapid notes in the middle. Its slow pace allows the audience ample time to relax, while the stark stylistic contrast maintains freshness. "Zyklus" is a highly representative work of Stockhausen, known for its bold experimentation. Rooted in serialism and incorporating elements of aleatory music, this piece uses instruments made of wood, metal, and leather, creating numerous possibilities.
The second half opens with "King of Denmark," one of Feldman's highly experimental works. Feldman had an extraordinary obsession with sound, pursuing its essence rigorously. This piece is a hallmark of his "indeterminacy" music, where no specific instruments are assigned. Instead, it uses textual descriptions of sounds, guiding performers to seek the timbres in their minds. It tests the performers' creativity, sensitivity to sound, and their overall perspective on using sound.
The final piece not yet mentioned is "Interzones," which combines vibraphone with electronic music. The interaction between the performer and the electronic sounds, whether competitive or cooperative, responding to each other or intertwining, is the main charm of this piece. It enriches the auditory experience, adding unique sound elements and excitement to the concert.

目次......i
譜例目錄......ii
壹、曲目規劃理念......1
貳、樂曲解析與詮釋......3
一、伊阿尼斯·澤納基斯：《彈跳》......3
二、克里斯托弗·迪恩：《安靜的大廳練習曲》......17
三、卡爾海因茨·斯托克豪森：《循環》......21
四、莫爾頓·費德曼：《丹麥國王》......28
五、布魯斯·漢米爾頓：《區間》......36
參考文獻......45
附錄......46

陳昱如。「沉默」─ 莫爾頓·費德曼綜合打擊獨奏作品《丹麥國王》之樂曲分析與演奏詮釋」。碩士論文，輔仁大學，輔仁大學音樂學系，2010。