臺灣博碩士論文加值系統

《MFITI》為預置鋼琴、打擊樂、舞蹈及燈光的新音樂劇場作品。靈感取自非洲巫師的治療儀式，分為火、水、風、礦、靈，五個樂章。將儀式中占卜的概念，加入樂曲創作過程，承接約翰・凱吉（John Cage）的機遇音樂，以骰子定義不同的節奏型態組合、圖像符號定義音高，排列出各章節不同節奏與音高組合，從各元素之精神象徵建立樂章之風格。作品將鋼琴樂器象徵為人體骨骼架構，鋼琴（樂器）作為被治療者，由三位演出者（鋼琴家、打擊樂者、舞者）作為巫醫，對鋼琴施以治療，筆者以非洲原住民達格拉族的傳統儀式為創作概念，從現代化社會與技術創造出再創的新世界，為具有儀式性的劇場表演。作品配置為鋼琴、打擊與舞蹈。打擊樂者以敲擊鋼琴琴弦的演奏方式呈現、舞蹈作為第三個聲部，使用身體演奏已編列好的節奏型態，將肢體形象化為聲響，也透過自製樂器讓肢體的動態轉化為聲音，舞者為音樂視覺化。

本論文分為四個章節撰寫：第一章為緒論；第二章為作品的創作背景，涵蓋創作動機及相關作品文獻探討；第三章為作品音樂架構分析及音樂元素使用的說明；第四章為自製樂器、肢體動作與燈光技術等相關設計說明；最終第五章則為本論文之結語。

MFIIT is a New Music Theater work that incorporates a piano, percussion, dance, and lighting. Inspired by African witch doctors' healing rituals, it consists of five movements: Fire, Water, Wind, Mine, and Spirit. Drawing on the concept of divination from the rituals, the composition process incorporates John Cage's chance music by using dice to determine different rhythmic patterns and graphic symbols to define pitch, arranging various combinations of rhythm and pitch for each section. The style of each movement is established based on the symbolic representation of the respective elements. In this work, the piano instrument symbolizes the skeletal structure of the human body, with the piano (instrument) being the recipient of the treatment. Three performers (pianist, percussionist, and dancer) act as shamans, administering the treatment to the piano. The creation concept is based on the traditional rituals of the Dagara tribe, an indigenous African group, transforming them into a reinvented new world through modern society and technology, resulting in a ritualistic theatrical performance.
The instrumentation of the piece includes piano, percussion, and dance. The percussionist employs a technique of striking the piano strings with drumsticks, while the dance serves as the third voice, embodying prearranged rhythmic patterns with bodily movements visually representing the sounds. Additionally, self-made instruments are used to convert the dynamics of the body into sounds, and the dancers contribute to the visualization of the music.

This thesis is divided into four chapters: Chapter 1 serves as the introduction; Chapter 2 discusses the creative background of the work, including the creative motivations and relevant literature review; Chapter 3 analyzes the musical structure of the work and explains the use of musical elements; Chapter 4 provides design explanations for the self-made instruments, bodily movements, and lighting techniques; and finally, Chapter 5 concludes the thesis.

中文摘要 i
英文摘要 ii
目錄 iv
表目錄 vi
圖目錄 vii
譜例目錄 viii
第一章、緒論 1
第二章、創作背景 4
一、創作動機 4
二、第二節 儀式元素在作品中的應用6
（一）第一樂章〈火的儀式〉7
（二）第二樂章〈水的儀式〉9
（三）第三樂章〈風的儀式〉11
（四）第四樂章〈礦的儀式〉12
（五）第五樂章〈靈的儀式〉14
三 機遇創作 15
（一）約翰凱吉與機遇音樂 15
（二）易之音樂 16
第三章、《MFITI》之作品分析 20
一、創作概念 20
二、音高設計 22
（一）五大元素符號之設計 23
（二）二十六個英文字母的屬性 23
（三）對應26個英文字母於不同音高 24
（四）五個樂章的音高設計 25
三、節奏設計 26
（一）〈火的儀式〉30
（二）〈水的儀式〉34
（三）〈風的儀式〉37
（四）〈礦的儀式〉42
（五）〈靈的儀式〉46
四、機遇創作 49
（一）聲音（Sound）49
（二）時值（Duration）50
（三）力度（Dynamic）50
（四）疊加（Superposition）50
第四章、《MFITI》之劇場元素分析 52
一、自製樂器 52
二、肢體設計 62
（一）〈火的儀式〉62
（二）〈水的儀式〉63
（三）〈礦的儀式〉64
（四）〈靈的儀式〉65
三、燈光設計 67
（一）〈火的儀式〉67
（二）〈水的儀式〉68
（三）〈風的儀式〉69
（四）〈礦的儀式〉70
（五）〈靈的儀式〉72
四 劇場創造的儀式性 73
第五章、結語 77
參考文獻 82

附錄
學位音樂會作品樂譜目錄 83
《SPSS:Atom》人聲、電子音樂及影像 (2020) 84
《MFITI》預置鋼琴、打擊樂、舞蹈及燈光 (2019-2023) 93
I.火的儀式 97
II.水的儀式 104
III.風的儀式 117
IV.礦的儀式 123
V. 靈的儀式 130
《Compound》中提琴與燈光 (2023) 136

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