臺灣博碩士論文加值系統

本文的主要工作為對武滿徹作品《雨の呪文》進行詮釋。此曲巧妙地融合東西方元素，在有無之間靜謐地揭露自身，筆者初次聆聽即為之感動進而以之為探討對象。選擇詮釋的觀點乃除了對本曲進行結構性探究之外，本文欲更進一步追尋在聆聽者與其交感之間引領而出的感性意指性，冀望能以較為貼近人文的方式來面對音樂，使音樂能以音樂的方式獲得開顯。

The main goal of this thesis is to interpret Rain Spell, the work of Tōru Takemitsu. This song subtly blends Eastern and Western elements, and quietly asserts its presence in the space between existence and nothingness. The author of this thesis was touched upon first hearing this song and thus decided to take it on as a subject of study. In addition to exploring the structure of the song, the selected viewpoints in this thesis would also trace the emotional nuances of the music and its power to evoke the listener’s sympathies. The author aims to read the music with the interpretive methods used in the humanities, and thereby allowing the music to manifest itself significantly in its own way.

致謝.................................................................................................................................... i
摘要.................................................................................................................................... ii
Abstract ............................................................................................................................ iii
目錄.................................................................................................................................... iv
譜例目錄.............................................................................................................................. v
圖目錄................................................................................................................................. vi
壹、緒論.............................................................................................................................. 1
　　第一節、意的流動........................................................................................................... 1
　　第二節、音樂世界........................................................................................................... 2
貳、武滿徹各時期的音樂特色................................................................................................. 3
參、形式結構分析與感性意味探討........................................................................................... 6
　　第一節、單元與意義單元................................................................................................. 6
　　第二節、《雨の呪文》中意義單元的塑造手法..................................................................... 8
　　　　(一)、聲響............................................................................................................... 8
　　　　(二)、「間」........................................................................................................... 11
　　　　(三)、樂器功能與編制的變遷..................................................................................... 13
　　　　(四)、織體變化........................................................................................................ 20
　　第三節、形式結構分析與感性意味探討.............................................................................. 22
　　　　(一)、第一樂段,A-E.................................................................................................. 22
　　　　(二)、第二樂段,F-G.................................................................................................. 34
　　　　(三)、第三樂段,H-N ................................................................................................ 39
　　第四節、小結................................................................................................................. 50
肆、來自音樂本體之外的理念(Extra musical idea)....................................................................52
　　第一節、嚮往自然地呈現各種聲響.................................................................................... 52
　　第二節、東方文化的元素................................................................................................. 54
　　　　(一)、單音的表現..................................................................................................... 54
　　　　(二)、日本傳統樂器.................................................................................................. 56
伍、結論.............................................................................................................................. 58
參考資料.............................................................................................................................. 59

中文參考書目

洪漢鼎,(2002)。《詮釋學史》。台北市:臺灣桂冠圖書出版公司。
陳榮華,(2011)。《海德格存有與時間闡釋》。台北市:國立臺灣大學出版中心。
陳榮華,(2011)。《高達美詮釋學:《真理與方法》導讀》。台北市:三民書局。
趙明,(1979)。《中國書法藝術》。台北市:新文豐出版股份有限公司。

外文參考書目

Boucourechliev, A. (1980). Messiaen, Olivier §2: Language. In S. Sadie (Ed.), The New Grove Dictionary of Music and Musicians (Vol. 12, pp. 205-206). London: Macmillan Publishers Limited 1980.
Burt, P. (2001). The Music of Tōru Takemitsu. Cambridge: Cambridge University Press.
Chou, Wen-Chung. (1970). Single Tones as Musical Entities: An Approach to Structured Deviations in Tonal Characteristics. American Society of University Composers,3.
Dreyfus, H. L. & Wrathall, M. A. (2007). Acompanion to Heidegger. Oxford: Blackwell Publishing Ltd.
Hirsch, E. D. Jr. (1960). Objective Interpretation. PMLA, pp. 463-479.
Forte, A. (1973). The Structure of Atonal Music. New Haven: Yale University Press.
Griffiths, P. (1980). Webern, Anton §7: Ideas. In S. Sadie (Ed.), The New Grove Dictionary of Music and Musicians (Vol. 20, pp. 279-280). London: Macmillan Publishers Limited 1980.
Heidegger, M. (1962). Being and Time. (J. Macquarrie, & E. Robinson, Trans.) Malden: Blackwell. (Original work published 1927)
Newman, W. S. (1991). Beethoven on Beethoven. New York: Norton.
Nichols, R. (1980). Debussy, Claude §8: Contemporaries, influence. In S. Sadie (Ed.), The New Grove Dictionary of Music and Musicians (Vol. 5, pp. 309-310). London: Macmillan Publishers Limited 1980.
Pullan, W. (2000). Structure. Cambridge: Cambridge University Press.
Takemitsu, T. (1989). Contemporary Music in Japan. Pesrpectives of New Music, XXVII, No. 2, 199.
Takemitsu, T. (1995). Confronting Silence. (Y. Kakudo, G. Glasow, Eds., Y. Kakudo, & G. Glasow, Trans.) Berkeley: Fallen Leaf Pree.
Tyson, L. (1999). Critical Theory Today: A User-Friendly Guide. New York: Garland. Wachterhauser, B. R. (Ed.). (1994). Hermeneutics and Truth. Evanston, Illinois: Northwestern University Press.
Weinsheimer, J. C. (1985). Gadamer's Hermeneutics: A Reading of Truth and Method. New Haven and London: Yale University Press.
Wu, Ting-Lien. (1987). An Analysis of Toru Takemitsu's Bryce (1976), with an emphasis on the role of articulation. Los Angeles: University of California.
武満徹、(2004)。私たちの耳は聞こえているか(第三刷発行)。東京:日本図書センター。

電子資料

Forster, M. (2008). The Stanford Encyclopedia of Philosophy (Fall 2008 Edition). Retrieved October 10, 2011, from Friedrich Daniel Ernst Schleiermacher: http://plato.stanford.edu/archives/fall2008/entries/schleiermacher/
Korab-Karpowicz, W. J. (2009). Internet Encyclopedira of Philosophy. Retrieved October 10, 2011, from Martin Heidegger: http://www.iep.utm.edu/heidegge/
Malpas, J. (2009). The Stanford Encyclopedia of Philosophy (Summer 2009 Edition). Retrieved October 10, 2011, from Hans-Georg Gadamer: http://plato.stanford.edu/entries/gadamer/
岡本結香、(2005)。武満徹の作品における歪んだ時間と隔てられた音-「遮られ ない休息」を通して。§I.ゆっくりと、悲しく語りかけるように。1. 和声。参照日:2010 年 11 月 5 日、参照先:田村文生研究室: http://www.edu.kobe‐u.ac.jp/hudev‐bunsay/

參考譜例

Takemitsu, T. (1982). Rain Spell. Tokyo: Schott.

有聲資料

Takemitsu, T. (Composer). (1982). Rain spell. [Robert Aitken: flauto, Joaquin Valdepenas: clarinetto, Erica Goodman: arpa, David Swan: pianoforte, Robin Engelman: vibrafono, Performer]
Takemitsu, T. (Composer). (1982). Rain Spell. [Toronto New Music Ensemble, Performer]