臺灣博碩士論文加值系統

隨著全球科技的日新月異，社會中各領域的發展逐年蓬勃，藝術及音樂也不例外。二十世紀的藝術擺脫了傳統與固有的創作形式，不再被過去的經典框架，作曲家以及演奏家有更大的自由度去創造具有個人特色以及獨創性的作品，跨領域的合作日漸普及，音樂與繪畫、舞蹈、戲劇、多媒體、文學等不同藝術領域的融合，也成為藝術創作者廣泛使用的創作方式。擊樂擁有豐富無限的樂器種類以及多樣化的音色，也因如此，擊樂作品的可能性與發展性更加廣大。因全球資訊傳遞迅速，一旦有新穎的創作方式或演出形式被提出，在數年後就會成為許多作曲家經常使用的創作素材，同時也會出現更多創新的想法。

近幾年來，筆者在欣賞及認識各種擊樂作品時，發覺自己對於特定類型的作品有著由衷的喜愛，而美國擊樂演奏家及作曲家傑納．科申斯基的作品，時常於初次聆賞時，就帶給筆者產生強烈的吸引力，而在深入了解作品以及進行演奏與詮釋後，更能激起對作品中音樂內容的共鳴感。因此，筆者決定對傑納．科申斯基的作品，進行全面性的探究。從家庭背景、成長環境以及學習歷程作為其作品研究的開端以及先備知識，接著藉由詳細的作品分析，了解每首樂曲的創作靈感、寫作手法、樂器使用、演繹方式等等，進而統整歸納出傑納．科申斯基作品中的風格特色、常用創作素材以及作曲手法，並綜合以上所有的資料，提出結論。

With the advance of science and technology, the development of arts and music are very fast. Artists in the 20th century broke with traditional and conventional creative methods. They got more freedom to create with personal characteristics and originality. In recent years, the interdisciplinary arts have become more and more popular. Artists around the world have been widely used this material in their works.

Percussion has a rich and unlimited variety of instruments and diversified timbres. Because of this, the possibilities and development of percussion works is even greater. In this era, everyone can transmit various information on various devices. Once a new creative method discovered, it will be frequently used by artists all over the world. Meanwhile, there will be more innovative ideas appeared.

When I am listening and playing percussion works, I'm often appealed to certain types of works. Gene Koshinski, who is the American percussionist, composer, has created lots of music. His music often gives me a strong attraction when I listen to it for the first time. Thus, I decided to do an in-depth study of Gene Koshinski and his works. First, study from his family background and his process of learning music. Second, analyze his work with the scores, program notes, and performance notes. Third, comprehend the spirits and meaning behind the music. Last, summarize and combine all the information and come up with a conclusion.

前言 .........................................................................................................................1
第一章 傑納．科申斯基 ...........................................................................................4
第一節 傑納．科申斯基生涯概述 .............................................................................4
一、生平背景 ...........................................................................................................4
二、作品與獲獎紀錄 ................................................................................................5
三、奎伊擊樂二重奏 ................................................................................................5
四、特殊貢獻 ...........................................................................................................6

第二章 傑納．科申斯基作品探討..............................................................................8
第一節 作品分類 ......................................................................................................8
第二節 各階段創作風格與特色 ................................................................................11
一、第一創作階段(2000-2007)................................................................................11
二、第二創作階段(2007-2015)................................................................................13
三、第三創作階段(2015-)........................................................................................18
第三節 樂曲寫作手法 ..............................................................................................24
一、對位式、連扣的節奏與律動導向 ......................................................................24
二、Ritmica ............................................................................................................31

第三章 傑納．科申斯基作品常用元素 .....................................................................38
第一節 世界音樂 .....................................................................................................38
一、《簡化》(Streamline).......................................................................................38
二、《因此風吹過...》(And So the Wind Blew...)....................................................40
三、《掌握律動》(Pocket Grooves)........................................................................47
第二節 中國傳統音樂 ..............................................................................................61
一、《京劇印象》(Impression of Chinese Opera)...................................................61
第三節 流行文化與生活時事 ...................................................................................80
一、《最後...》(In the End...)..................................................................................81
二、《自由下注》(Free Spins)................................................................................81
三、《長期曝光》(Long Exposure).........................................................................90

結語 ........................................................................................................................91
參考資料 .................................................................................................................92

中文詮釋報告
黃莉雅。〈東南亞鑼群文化初探—以甘美朗為例〉。國立臺北藝術大學管絃與擊樂研究所詮釋報告，2005。

外文書目
Alan, Marsden. Journal of New Music Research. Routledge, 2020.
Jan, Laurens, Hartong. Musical Terms Worldwide: A Companion for the Musical Explorer. Semar Publishers, 2007.
José, Eduardo, Gramani. Ritmica. Perspectiva, 2016.

網路資料
https://www.genekoshinski.com/index.html
https://www.qpdmusic.com
https://www.ulethbridge.ca/notice/events/music-noon-series-jianpeng-feng-percussion- china-conservatory-music#.YPVBKC3RZN1
https://dsso.com/2019/05/02/get-to-know-the-dsso-gene-koshinski-principal-percussion/
https://www.biosmonthly.com/article/9444
https://music.uni.edu/
https://read.muzikair.com/us/periodicalArticles/8cb52498-fbc3-4521-ad5f-c04de3e67a6e
https://saintpaulsunday.publicradio.org/features/0109_choro/
https://www.inside.com.tw/article/5353-zombie-apocalypse
https://www.softgamings.com/casino-glossary/free-spins/
(以上皆參考網址於 2021 年 4 月)