臺灣博碩士論文加值系統

音樂創作的目的與內在精神，在於表達、呈現自身對外在事物的感知或內在的情感，而作曲手法則是為了達到目的所使用的外在手段。二十世紀以來，音色在音樂中的地位逐漸提升，「音色素材的建立與融合」成為現今作曲者難以忽視的課題，也是本文所探討的核心。

本文共分為三章。在第一章「音色素材的建立」，筆者從演奏方式的改變、發聲媒介的改變與預置三個角度，探討陌生化音色素材的建立；在第二章「音色素材的融合」，筆者透過音色素材的絕對性與相對性、同質性與異質性之關係，進一步說明音色素材的融合運用；在第三章「作品分析」，筆者藉由自身作品的分析，陳述創作理念，說明如何將以音色素材為主體的音樂理念體現於創作中。

The aim and spirit of musical composition is to express and present one’s feelings for outer things or one’s inner emotions. The techniques employed in composition are the means one adopts to achieve this end. From the twentieth century on, timbre has played an increasingly important role in music. The construction and fusion of timbral materials, as the core of the thesis, has now become an issue no composer should neglect.

This thesis consists of three chapters. In the first chapter, “The Construction of Timbral Materials”, I probe into three possible ways in which de-familiarized timbral materials are constructed: change in instrumental performing techniques, change in sound-making media, and employment of prepared devices. In the second chapter, “The Fusion of Timbral Materials”, I discuss the absoluteness/relativity and the homogeneity/heterogeneity of timbral materials, expounding various aspects timbral materials are fused and employed. In the third chapter, “The Analyses of Works”, I present my own compositional thinking through analyzing some of my works, so as to demonstrate how the timbre-oriented concepts are practiced in musical composition.

前言 1

第一章 音色素材的建立
第一節 演奏方式的改變 3
第二節 發聲媒介的改變 17
第三節 預置的使用 22

第二章 音色素材的融合
第一節 音色素材的絕對性與相對性 28
第二節 音色素材的同質性與異質性 30
第三節 同質性與異質性素材的融合運用 34

第三章 作品分析
第一節 《相變》：為預置二十一絃古箏獨奏 43
第二節 Four Moods：為長笛、大提琴與鋼琴 54
第三節 《繪聲》：為絃樂四重奏 64

結語 76

外文書目

Albright, Daniel. Modernism and Music. Chicago: University of Chicago Press, 2004.
Bartolozzi, Bruno. New Sounds for Woodwind. London: Oxford University Press, 1982.
Brindle, Reginald Smith. The New Music: The Avant-Garde since 1945.Oxford: Oxford University Press, 1987.
Cope, David. New Directions in Music. Dubuque, Iowa: W.C. Brown, 1984.
Cowell, Henry. New Musical Resources. Cambridge: Cambridge University Press, 1996.
Erickson, Robert. Sound Structure in Music. Berkeley: University of California Press, 1975.
Kostka, Stefan M. Materials and Techniques of Twentieth-Century Music. Englewood Cliffs: Prentice Hall, 1990.
Pellerite, James J. A Modern Guide to Fingerings for the Flute. Bloomington: Zalo Publications, 1972.
Pritchett, James. The music of John Cage. Cambridge: Cambridge University Press, 1993.
Simms, Bryan R. Music of the Twentieth Century: An Anthology. New York: Schirmer Books, 1986.

中文書目

潘皇龍，《讓我們來欣賞現代音樂》。台北：全音樂譜出版社，1987。
潘皇龍，《現代音樂的焦點》。台北：全音樂譜出版社，1999。
潘皇龍，〈音響意境音樂創作的理念〉。《藝術評論》，第六期，1995年12月，117-136頁。
菅原明朗著，李哲洋譯，《樂器圖解》。台北：全音樂譜出版社，2002。


網路資料

Grove Music Online
http://www.grovemusic.com
Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Main_Page
Mats Moller - New sounds for flute
http://www.sfz.se/flutetech/index.htm
Extended Techniques for Cello by Craig Hultgre
http://www.lunanova.org/CelloET/
Extended Techniques for Flute by John McMurteryhttp://www.johnmcmurtery.com/ET/index.html