臺灣博碩士論文加值系統

混合室內樂《…towards…》的創作理念以探討大自然從創造到毀滅再到重建的循環為核心，將音樂的創作視為體現的過程。透過作品的三個核心概念：「音色的漸變」、「序列主義的影響」與「東西方樂器的組合」剖析自身作品受到的啟發，並與求學所學及自身背景結合，將創作過程中對於自然、生命的體悟，轉化為音樂。

本文分為三章，第一章緒論為創作背景與動機，並聚焦於影響自身作品之三個核心概念的作曲家、作品及其音樂理論；第二章以音色、音高、節奏三個面向細述核心概念如何影響自身對於音樂材料的建立；第三章以自身為主軸，細述作品《…towards…》中的樂曲結構及各樂章創作手法，以及如何呼應、實踐創作理念。最後，文中同時以聽覺的角度出發，闡述如何以聽覺的角度，使聽眾能夠藉其與我的創作理念、手法產生連結。

The idea behind “...towards...” for mixed ensemble is to explore the cyclical nature of construction, destruction, and reconstruction through music as a representation of this process. I will analyze the inspiration of my work through three main compositional concepts, including “change of timbre”, “the influence of Serialism”, and “the combination of Western and Chinese instruments”. Moreover, by combining the knowledge of my personal experience and graduate studies, I will also illustrate my compositional process of transforming the nature and life perspective into music.

This thesis is comprised of three chapters. Firstly, I will focus on my musical compositional background and motivation. Moreover, I will also examine the composers, works, and theories which affect the three main compositional ideas that were mentioned. Secondly, I will delve into the role of timbre, pitch, and rhythm to demonstrate the effect of three main compositional concepts in establishing musical materials. Lastly, I will center on the form of my work with a comprehensive analysis of each movement and the way of corresponding to my compositional concepts. Furthermore, I will also illustrate the connection of my compositional concepts to the audience and their auditory experience.

摘　要 i
Abstract ii
目　錄 iii
圖目錄 iv
表目錄 v
譜例目錄 vi
第一章 緒論 1
第一節 創作背景與動機 1
第二節 創作理念 1
第二章 混合室內樂《…towards…》的音樂材料設計 17
第一節 音色 17
第二節 音高 36
第三節 節奏 37
第三章　混合室內樂《…towards…》實踐與分析 39
第一節 樂曲結構 39
第二節 第一樂章〈創造〉 41
第三節 第二樂章〈繁茂〉 49
第四節 第三樂章〈破壞〉 57
第五節 第四樂章〈荒蕪〉 62
第六節 第五樂章〈再創造〉 66
結　論 71
參考資料 73
附　錄（作品《…towards…》樂譜） 75

外文專書、期刊

Cote, Sergio. “Accumulating Ligeti’s Techniques: An analysis of György Ligeti’s Second String Quartet as a repertoire of his compositional techniques in 1968.” M. M. thesis, Royal Northern College of Music, 2015.
Hasegawa, Robert. “Gérard Grisey and The ‘Nature’ of Harmony.” Music Analysis 28, No. 2/3 (2009): 349-371.
Arrell, Chris. “The Music of Sound: An Analysis of Partiels by Gérard Grisey.” Spectral World Musics: Proceedings of the Istanbul Spectral Music Conference. Istanbul: Pan Yayıncılık, 2008: 318-333.
Covington, Kate. “Visual Perception vs. Aural Perception: A LOOK AT ‘MODE DE VALEURS ET D’INTENSITÉS’.” Indiana Theory Review 3, No. 2 (1980): 4-11.
Koblyakov, Lev. Pierre Boulez: A World of Harmony. New York: Harwood Academic Publishers, 1993.

中文專書、期刊

鐘子林。《西方現代音樂概述》。北京：人民音樂出版社，2014。
潘皇龍。《現代音樂的焦點》。臺北：全音樂譜出版社，2014。
陸橒。《國樂團配器之我見》。國立臺北藝術大學音樂學系碩士班碩士論文，2006。

網路資料

Page, Tim. “Classical Music Forum.” The Washington Post. Feb. 20, 2002. https://www.washingtonpost.com/wp-srv/liveonline/02/music/page022002.htm
Summer, Jay. “White Noise” Sleep Foundation. Jan. 3, 2023. https://www.sleepfoundation.org/noise-and-sleep/white-noise