臺灣博碩士論文加值系統

室內樂作品在演奏上的重點，在於培養演奏者之間的默契，並且溝通與調整彼此
在音樂上的想法與詮釋。在舞台上，重奏者是⼀個完整的個體，⽽非各⾃獨立的，所以練習重奏作品除了能增進技巧，更能增加對音樂聆聽的仔細度、分析樂譜的能⼒，還有培養互相的溝通力與韌性。

“Ombre”中譯《影⼦》，為作曲家蔡⽂綺（Wen-chi Tsai）於2008年創作之擊樂⼆重奏作品，其特色在於使用金屬與皮革樂器來呈現光與影子的追逐感，樂曲中還使用對白，兩位演奏者像是⼀個人的表象與內在面在進行對話。除此之外，作曲家在旅法期間，積極與其他藝術工作者嘗試使用日常生活中的器具，找尋生活中的聲音，讓原本不被注意的聲音變得有趣，賦予新的意義，所以此曲中使用了塑膠刀、鐵刷以及手指演奏等等，更能真實的表達人們生活中的情感與思緒。筆者將深入了解此曲之創作手法與背景，再將重奏者與光影之互動關係帶入討論與詮釋

筆者將本論文分為五個章節來進行研究與分析：第一章為緒論，說明研究動機與研究方法；第二章為作曲家生平與相關作品介紹，概述作曲家之生平與經歷，將所有著作列表後概述其創作⼿手法與特色，並在第三節概述《影子》之創作背景與特⾊色；第三章為《影子》之作品分析，深入了解此樂曲之記譜、配器、樂曲結構與每個段落的創作手法；第四章為樂曲詮釋，以樂曲中意境詮釋、對白情緒與音樂張力之設計來探討光影與演奏者之間的互動關係；第五章為結論，說明筆者在研究此樂曲與撰寫論文時得到的啟發與感想。

In performing chamber music, the key point lies in developing the performers’ tacit agreement. They need to be able to communicate and adjust mutually in their musical
thinking and interpretation. On the stage, performers are individuals of a whole. They are not independent, so when rehearsing chamber music, besides improving their skills, the performers also enhance their carefulness in music listening, analytical abilities of music notation, and abilities of communication and flexibilities.

“Ombre” is the percussion duet of our national composer Tsai Wen Chi created in 2008. The special feature of his work is that it uses metal and leather instruments which
express the feeling of light and shadow chasing. The music also uses dialogues in which two performers become the image of one person having an inner conversation. While studying in France, Tsai Wen Chi and other artists aggressively tried daily utensils looking for sounds in
daily life, and discovered many originally unnoticed sounds become quite interesting with new meaning. Therefore, to play this music he uses plastic knives, iron brushes, and fingers, etc. It can truly express people’s daily life of love and thoughts. This thesis will go deeper to
understand the created methods and background of this music; also, it will take into discussion and interpretation of performers’ interacting relations.

In this thesis, I divided five chapters to go on my study and analysis. The first chapter is introduction, explaining the motives and methods of my study. The second chapter is about the composer’s background and all his related works; summarize his background and experience; also list all his works’ summaries, creative methods, and specialties. The fourth chapter is about the music’s structures and analysis; going deeper to understand the musical structures, creative methods, musical notations, signs, and instrument usage before the rehearsal. The fourth chapter is the music’s interpretation; through musical conception, dialogue moods, and design of musical expansion to investigate the performers’ conversational and cooperative relations. The fifth chapter is the conclusion, stating the inspiration and impressions I have learned while writing this thesis.

第一章 緒論.................................................1

第二章 作曲家生平與相關作品介紹.................................3
第一節 作曲家生平與簡介.......................................3
第二節 相關作品與創作特色介紹..................................4
第三節 《影子》之創作背景......................................8

第三章 《影子》之作品分析.....................................10
第一節 樂器編制.............................................10
第二節 記譜................................................13
第三節 演奏符號指示.........................................22
第四節 樂曲結構與創作手法.....................................25

第四章 樂曲詮釋............................................52
第一節 光與影之音樂詮釋......................................52
第二節 樂器與材料之選擇......................................61
第三節 語調與情緒...........................................64

第五章 結論................................................67

參考資料...................................................69

袁曉彤。〈擊樂二重奏作品《慾望廚房》之樂曲分析及演奏詮釋〉。台北市：國立台北藝術大學管絃與擊樂研究所碩士論文，2011。

張吟宇。〈常見的打擊樂記譜〉。台北市：國立台北藝術大學管絃與擊樂研究所碩士班碩士論文，2005。

陳廷銓。〈二十世紀敲擊樂記譜法之研究與探討〉。新北市：私立輔仁大學音樂研究所碩士論文，2005。

章瑋倫。〈湯摩．亞里《齋羅》擊樂二重奏之樂曲分析與演奏詮釋探討〉。台北市：國立台北藝術大學管絃與擊樂研究所碩士論文，2015。

黃子臻。〈艾曼紐