臺灣博碩士論文加值系統

在二十世紀中期之後，擊樂協奏曲的協奏者不再只是管弦樂團或管樂團，而是開始使用許多不同類型的打擊樂器，獨奏者除了詮釋技巧華麗的獨奏樂段之外，還時常必須身兼指揮一職，與協奏者培養良好的默契。在尼伯夏‧吉柯維克《輓歌與野蠻之舞》(Lamento e Danza Barbara)這首曲子中，是由木琴獨奏者與三位擊樂家共同協奏的樂曲，整首曲子充滿著不斷變化的拍號並使用多樣化的樂器。本文將討論如何在拍子不規則的變化中找到節奏律動的邏輯、獨奏者與三位協奏者之間的關係與改變，以及如何處理打擊樂器的擺置和演奏技術之問題。
本論文將分為五個章節來進行研究分析。第一章為緒論，說明筆者的研究動機與研究方法；第二章，介紹吉柯維克生平、創作作品及風格；第三章概述《輓歌與野蠻之舞》的創作背景以及分析曲子的素材、動機和曲式架構；第四章為樂曲詮釋，並分為兩大部分，第一部分從吉柯維克的創作手法和譜上術語，來探討樂曲動機和聲部之間的關係這兩面向之詮釋，第二部分則是探討各聲部的樂器擺設，使得演奏者能依最順手的演奏方式來演奏；最後一章為總結，是筆者在此論文探討後的心得及結果。

After the 20th century, the accompaniment of a percussion concerto is no longer an orchestra or wind ensemble. Instead, composers started to utilize varied types of percussions as accompaniment, which means a soloist should not only interpret flamboyant solos but also nicely lead the rest of the group. The “Lamento e Danza Barbara” by Nebojsa Jovan Zivkovic was written for a soloist and three percussionists, and it features continuously changing meters and diverse instruments. In this thesis, the rhythmic groove and melodic flow during inconsistent meters, the connection and interaction between the soloist and accompaniment, and discussion on the efficiency of different instrument placements and technical issues in performance are deeply researched and clearly analyzed.
This thesis consists of five chapters. Chapter one is an introduction of the methodology, purpose and objectives of the research. Chapter two describes the compositional style, biography, and major works of Nebojsa Jovan Zivkovic. Chapter three explores the background, structure, and motives of “Lamento e Danza Barbara.” Chapter four researches into the interpretation of “Lamento e Danza Barbara”, which includes two major sections: one is to discover the development of motives and the relationship between different parts through analysis of Nebojsa’s compositional technique and written information on score; the other is to seek the most reasonable and appropriate setting of each part for a comfortable and effortless performance. The final chapter is the conclusion and review of this thesis.

第一章：緒論.................................................... 1
第二章：尼伯夏‧吉柯維克生平與創作................................. 2
第一節：吉柯維克之生平概述....................................... 2
第二節：創作之作品.............................................. 3
一、 吉柯維克作品一覽表...................................... 4
二、 練習曲教本.............................................. 7
第三章：《輓歌與野蠻之舞》作品介紹................................ 8
第一節：創作背景 ................................................ 8
第二節：樂曲編制................................................. 8
第三節：樂曲架構及分析.......................................... 11
一、 輓歌................................................... 11
二、 野蠻之舞............................................... 26
第四章：樂曲演奏詮釋............................................. 41
第一節：樂器擺設................................................ 41
一、《冷榨》及《生命的演譯》樂器擺設探討...................... 41
二、影音資料的歸納探討...................................... 48
第二節：音樂詮釋................................................ 59
一、輓歌......................... ......................... 59
二、野蠻之舞................................................ 63
第五章：結語.................................................... 68
參考資料........................................................ 69

Beach, Gabriel Kyle. 2013. An Interpretive Study of Percussion Solos Opus 21 & 24.1 by Nebojsa Jovan Živkovic. PhD diss., Ball State University.
Grant III, Jefferson Lavelle. 2009. A comparative analysis of representative marimba works by Nebojsa Jovan Živkovic. PhD diss., The University of Southern Mississippi.
Hollinden, Dave. 1994. Cold Pressed. North Carolina: C. Alan Publications.
Monkman, Jesse. 2002. Rite of Passage. Oregon: Tapspace Publications.
Mixon, Kevin. 2002. “Helping Percussionists Play Musically.” Music Educators Journal 88, no. 4: 53-56.
Milin, Melita. 2004. The National Idea in Serbian Music of the 20 th Century.
Nationale Musik im 20, Jahrhundert, ed. Helmut Loos and Stefan Keym, 31-45. Leipzig: Gudrun Schroder Verlag.
Rack, John. 1987. “Percussion Basics for a Better Sound.” Music Educators Journal 73, no. 5: 31-35.
Zivkovic, Nebojsa. English: Biography. Nebojsa Jovan Zivkovic. http://www.zivkovic.de/bio-eng.htm (accessed July 29, 2015).
潘皇龍。《讓我們來欣賞現代音樂》。臺北市：全音樂譜出版社，1987。
方銘健。《西洋音樂史：理念與建構》。臺北市：全華科技圖書公司，2005。
朱宗慶。《打擊樂演奏的探討》。臺北市：財團法人擊樂文教基金會，1993。
徐頌仁。《音樂演奏的實際探討》。臺北市：全音樂譜，2001。
黃佳莉。2005。綜合打擊樂曲之樂器擺設位置探討(以蜘蛛走路、石潮、現象Ⅲ三首樂曲為例)。台北市：臺北藝術大學管絃與擊樂研究所擊樂組碩士論文。
袁曉彤。2010。擊樂二重奏作品《慾望廚房》之樂曲分析及演奏詮釋。台北市：臺北藝術大學管絃與擊樂研究所擊樂組碩士論文。
王鐿潔。2011。畢業音樂會之曲目研究《莎法》《e 小調練習曲》《給鐵琴及弦樂團之協奏曲》《齋羅》《桌子音樂》《輓歌與蠻夷之舞》。台中市：東海大學音樂系碩士論文
黃子臻。2012。艾曼紐．瑟裘奈的擊樂作品《麥哲倫協奏曲》之樂曲分析與詮釋。台北市：臺北藝術大學管絃與擊樂研究所擊樂組碩士論文。