臺灣博碩士論文加值系統

本輔助文件以當前研究文獻為基礎，分析武滿徹為小提琴與鋼琴寫作的《妖精之距離》之創作技法與特徵，並與梅湘的《主題與變奏》比較，觀其創作手法之異同與繼承，並探討適切的詮釋方法以及演奏建議。筆者分別簡述梅湘與武滿徹之生平簡介、創作分期以及音樂風格，並從「時間」和「色彩」兩方面進行分析。時間的分析（節奏）特別著重於兩人音樂中的節奏性與時間觀念，以及複合節奏的使用。兩人皆將多調式與複合節奏結合於作品中。色彩的分析（和聲）則著眼梅湘的色彩「聯覺」(Synästhesie)在創作上的應用，以及武滿徹的繼承。梅湘應用「有限移位調式」(les modes à transpositions limitées)的手法與武滿徹運用音列技巧（例如：動機式音列，全音音階）的手法多有雷同，而梅湘「持續音群」(Groupe-pédale)的作曲手法，可對應到武滿徹作品中常見的同音列多重複合小節。在和聲結構上，兩人皆大量使用分解和弦的三度疊置，以及四度疊置和弦；而和聲與和聲之間的聲部導進，則常見平行和弦推移，或以半音模進方式進行。藉由探討兩人個性化的節奏以及和聲語言，筆者追溯日本作曲家武滿徹對於梅湘的音樂和聲技法之吸收，繼承與再創造。

This supporting paper presents an analysis on the compositional technique and characteristics of Toru Takemitsu's "Distance de Fée" in comparison with Messiaen's "Theme and Variations" in order to observe the inherited similarities and differences between the two composers, and suggestions for interpretation and performance are given whenever the author thinks appropriate. The author briefly introduces the life, the compositional periods, and the musical styles of Messiaen and Takemitsu respectively, and conducts analysis based on "temporal" and "color" concepts. Analysis based on temporal (rhythmic) concept particularly emphasizes on both the rhythmic structure and the sense of ‘time’, as well as the use of polyrhythms. Both incorporate multi-modes and polyrhythms into their work. Analysis on color (harmony) is focused on how Messiaen's "synaesthesia" (Synästhesie) renders his composition a rich spectrum of colors, and how Takemitsu inherited this sense of coloration. Messiaen's use of "les modes à transpositions limitées" is reminiscent of Takemitsu's techniques in the use of tone-row (e.g. motivic tone-row and diatonic scales); Messiaen's "groupe-pédale" may correspond to Takemitsu's common use of homophonic tone-row across multiple sections. In terms of the harmonic structure, both of them made extensive use of broken chords of triads and tetrad chords, while the voice leading between harmonies exhibits parallel chord movements or chromatic progressions. By addressing both the characteristic rhythmic and harmonic structure, the author manages to trace the influence, inheritance and re-creation of Japanese composer Toru Takemitsu for whom Messiaen's music is count as one of the most influential.

致謝 i
嚴子晴小提琴演奏會錄音CD曲目 iii
演奏會曲目與輔助文件摘要 v
Recital Program and Paper Abstract vii
目 錄 x
表目錄 xii
譜例目錄 xiii
第一章 前言 1
第一節 研究目的 2
第二節 研究方法 2
第二章 梅湘 3
第一節 梅湘生平概述 3
第二節 有限移位調式 6
第三節 梅湘音樂中的其他相關影響因素 11
壹․節奏 11
貳․鳥鳴 13
參․宗教 13
第三章 武滿徹 15
第一節 武滿徹生平概述 15
第二節 武滿徹創作分期與音樂風格簡述 16
第三節 武滿徹音樂中的相關影響因素 19
壹․音列 19
貳․和聲與色彩 22
第四章 《主題與變奏》之樂曲分析與演奏詮釋 26
第五章 《妖精之距離》之樂曲分析與演奏詮釋 38
第六章 兩者音樂語言之異同 53
第一節 梅湘與武滿徹相似之創作技法 53
壹․有限移位調式的使用 53
貳․和聲功能的喪失 55
參․「中心」的概念 55
肆․節奏 56
第二節 梅湘與武滿徹相異之創作技法 60
壹․節奏 60
貳․曲式 61
第七章 結語 62
參考文獻 65
壹．外文文獻 65
貳．中文文獻 66
參．樂譜 66

壹．外文文獻
Burt, Peter. 2006. The music of Toru Takemitsu. New York: Cambridge University Press.
Griffiths, Paul. 1985. Olivier Messiaen and the music of time. Ithaca, N.Y.: Cornell University Press.
Halbreich, Harry. 1980. Olivier Messiaen, Collection Musiciens d'aujourd'hui. Paris: Fayard : Fondation SACEM.
Hill, Peter. 1995. The Messiaen Companion. Portland, Or.: Amadeus.
Koozin, Timothy. “Spiritual-Temporal imagery in Music of Olivier Messiaen and Toru Takemitsu.” Contemporary Music Review. Vol. 7, 185-202(1993):189.
________. “Traversing Distance: Pitch Organization, Gesture and Imagery in the Late Works of Toru Takemitsu.” Contemporary Music Review. Vol. 21, No. 4(2002): 31.
________.“Octatonicism in Recent Solo Piano Works of Toru Takemitsu”. Perspectives of New Music. Vol. 29, No. 1 (1991):124-140.
Messiaen, Olivier, and Claude Samuel. 1994. Music and color: conversations with Claude Samuel. Portland, Or.: Amadeus Press.
________. 1956. The Technique of My Musical Language. 1st Volume: Text. Trans. John Satterfield. Paris: A. Leduc.
________. 1956. The Technique of My Musical Language. 2nd Volume: Musical Examples. Trans. John Satterfield. Paris: A. Leduc.
Ohtake, Noriko. 1993. Creative sources for the music of Toru Takemitsu. Aldershot: Ashgate Pub. Co.
Rössler, Almut, and Olivier Messiaen. 1986. Contributions to the spiritual world of Olivier Messiaen: with original texts by the composer. Duisburg: Gilles &; Francke.
Sadie, Stanley, and John Tyrrell, ed. Macmillan 2001. The new Grove dictionary of music and musicians. 2nd ed. 29 vols. New York.
Siddons, James. “Toru Takemitsu”. The Music of the Twentieth-Century Avant-Garde: A Biocritical Sourdebook, ed. by Larry Sitsky, 508-522. London: Greenwood Press, 2002.
________. 2001. Toru Takemitsu: a bio-bibliography. Westport, Conn.: Greenwood Press.
Takemitsu, Toru, Yoshiko Kakudo, and Glenn Glasow. 1995. Confronting silence: selected writings, Fallen Leaf monographs on contemporary composers. Berkeley, Calif.: Fallen Leaf Press.
Gieseler, Walter. Harmonik in Der Musik Des 20. Jahrhunderts. Celle: Moeck, 1996.
貳．中文文獻
王萃。《武滿徹和聲技法研究》。上海音樂學院博士班博士論文，2008。
許志斌。《武滿徹的生平與創作》。《中國音樂學》，2003。
連憲升。《奧利維亞‧梅湘-早年生平及其音樂與人格特質》。台北：中國音樂書房，1992。
戴維后。《梅湘的音樂–分析「時間的色彩」》，台北：全音樂譜出版社有限公司，1990。
參．樂譜
Messiaen, Olivier. Thème et Variations pour Violin &; Piano. Paris: Alphonse Leduc, 1934.
Takemitsu, Toru. Distance de Fée. Japan: Schott Company Ltd, 1951.