臺灣博碩士論文加值系統

如何用音樂指涉特定的意義，一直是歷代許多作曲家所關心的議題，他們也做過許多的嘗試，例如：若斯坎 (Josquin des Prez, 1450-1521) 的繪文法與烘托法、蒙台威爾第 (Claudio Monteverdi, 1567-1643) 的第二作法、貝里歐 (Luciano Berio, 1925-2003) 的引用手法和拼貼手法等等。他們用抽象的音樂指涉具象之意義的嘗試，確實影響了音樂創作技法的發展。其中在引用手法中，素材本身即帶有意義，因此在指涉具象意義的過程中相較其他的手法更加精準。
引用手法 (Quotation) 是一種在創作中直接援引既有作品片段的手法，能引導聽眾聯想到音樂所欲指涉的特定故事情節、場景、或主題等。雖然此手法從十三世紀就已經出現，並一直在音樂創作史中佔有一席之地，卻在二十世紀現代主義式微下再度興起，發展成為許多作曲家的特色技法，也成為後現代主義的特色之一。
本論文以引用手法為主軸，研究不同的作曲家如何藉由音樂來詮釋欲指涉的意義。第一章首先回顧以音樂詮釋歌詞的傳統，並為引用手法做一定義。第二章則按照時間順序介紹歷史上使用引用手法的作品。第三章以貝里歐 (Luciano Berio, 1925-2003) 《交響曲》的第三樂章為研究範疇，分析其引用素材不同的處理方式。第四章則聚焦在我寫給次女高音與大型室內樂的作品《渴》上，分析此作品中如何以各種作曲技法——包括引用手法——來詮釋《聖經》〈約翰福音〉第四章中的文字意義。

Composers of all time endeavor to grant their work referential meanings and have developed multiple techniques to achieve such a common goal. The text depiction and expression by Josquin des Prez (1450-1521), the second practice by Claudio Monteverdi (1567-1643) and musical quotation by Luciano Berio (1925-2003), for example, were some famous attempts in the history of music. In musical quotation, reference is more precise than other techniques because the quoted material itself already bears inherent meanings.
Musical quotation is a technique to directly quote existing musical segments and can guide the audience to associate with specific plots, scenes and themes to which the music is meant to refer. Despite its early appearance in the 13th century, this technique continues to take on a crucial role throughout the history of musical composition ever since. Musical quotation has re-emerged in the face of the decline of modernism in the 20th century, and has even become the representative technique of many composers and featured as one of the principal characteristics of post-modernism.
In this thesis, how different composers connect referential meanings with music will be studied with a focus on musical quotation. The first chapter consists of a review on the tradition of the relations between text and music, followed by a definition of musical quotation; the second chapter provides a chronological introduction of musical works with musical quotation; the third chapter finds an analysis of the quoted materials in the 3rd movement of Sinfonia by Luciano Berio; and the fourth chapter will be an elaboration on how I interpreted the meanings of chapter 4 from the Gospel of John in the Bible through composing Thirst, my composition for mezzo-soprano and a large chamber orchestra, using various compositional techniques including musical quotation.

摘要 I
ABSTRACT II
目錄 III
譜例目錄 V
表格目錄 IX

第一章 緒論 1
第一節 研究動機 1
第二節 引用之定義 2
第三節 研究目標與研究方法 3
第二章 引用手法的歷史 5
第三章 論音樂與意義詮釋—— 以貝里歐《交響曲》〈第三樂章〉為例 15
第一節 樂章整體意義 18
第二節 貝里歐的作曲手法 22
第四章 論音樂與意義詮釋—— 以自身創作《渴》為例 37
第一節 創作理念 37
第二節 引用手法與意義詮釋 44
第三節 各段創作手法與意義詮釋 59
結語：引用手法與意義詮釋 77
參考書目 79
附錄： 《渴》樂譜 81

Burkholder, J. Peter. "Quotation." Grove Music Online. Oxford University Press. Date of access 28 Nov. 2022, https://doi-org.dbs.tnua.edu.tw/10.1093/gmo/9781561592630.article.10117
Hicks, Michael. “Text, Music, and Meaning in the Third Movement of Luciano Berio’s Sinfonia,” Perspectives of New Music, Vol. 20, No. 1/2, pp. 199-224.
Osmond-Smith, David. Playing on Words: a Guide to Luciano Berio’s Sinfonia. New York: Routledge, 1989.
吳紋綾。〈從Berio、Rochberg的作品探討拼貼 (Collage) 之手法與理念〉。碩士論文，國立臺北藝術大學音樂學研究所碩士班，2011。
＜https://hdl.handle.net/11296/e44aj2＞。
臺灣福音書房（編譯）。《新約聖經恢復本》。〈約翰福音〉。臺北市：臺灣福音書房，2016。