臺灣博碩士論文加值系統

本篇論文以當代音樂中的精神性為核心，探討自二十世紀以來，作曲家在受到抽象的精神層次影響後，如何將之實踐於音樂的表現中，並同時剖析筆者自身的作品《Netti Netti》所受之影響與啟發。本文將分為五章，第一章緒論中，將概略式地說明此篇論文之研究動機、研究方法及目的；在第二章「受精神層次影響之創作思維」中，將聚焦於三位作曲家，分別為史托克豪森 (Karlheinz Stockhausen, 1928-2007) 、賽爾西 (Giacinto Scelsi, 1905-1988) ，與喬納森・哈維(Jonathan Harvey, 1939-2012) ，並分別探討他們各自受到哪些精神、宗教或哲學等層面的影響，更進而發展出其自身的創作思維，接著以一首樂曲為範例說明其音樂與思想上之連結與轉化的關係；於第三章「自我音樂語言於思維中的體現」中，筆者將以自身為主軸，闡述在自我精神層次與美學觀的形塑上，受到哪些影響；第四章「自我音樂語言於聲響的體現」將著重在筆者的論文創作《Netti Netti》，剖析此首作品中受到前一章提及的精神層次影響後，如何透過筆者的詮釋後，將之實踐至聲響創作上；最後於第五章「結語」中，筆者將闡述《Netti Netti》在演奏上的層次，對聽眾而言他們所聽到、感知的，與筆者自身創作深層的思維如何產生連結。

This thesis focuses on the spiritual realm in contemporary classical music and discusses how composers in the twentieth century transformed abstract spiritual influences into actual music compositions. I also analyzed my own work Netti Netti for Ensemble and Electronics to show how I am influenced and inspired by these same composers. 
This thesis consists of five chapters. In the first chapter, I will describe the research motivations, methods, and purposes of this thesis. In the next chapter, The Compositional Thoughts Influenced by the Spiritual Realm, I will focus on three composers, Karlheinz Stockhausen, Giacinto Scelsi, and Jonathan Harvey, in order to illustrate how spirituality, religion, or philosophy have made an impact on them and how they transformed these thoughts into their compositions. The third chapter, The Realization of My Musical Language in Thoughts, concentrates on what and how philosophy, literature, and aesthetics have become important inspirations for me. In the following chapter, The Realization of My Musical Language in Sounds, I will show the relations and connections between the thoughts described in the previous chapter and my piece Netti Netti for Ensemble and Electronics. I will explain how I interpret abstract thoughts in my music specifically. In the last chapter, I will focus on the performance aspect of my music, and discuss the connections in between my compositional thoughts and what the audience can hear and pervceive.

第一章 緒論 1
第一節 研究動機 1
第二節 研究目的與研究方法 1
第二章 受精神層次影響之創作思維 3
第一節 史托克豪森，一位聲音的轉譯者 3
第二節 賽爾西的單音技巧 14
第三節 喬納森・哈維的創作語言 23
第三章 自我音樂語言於思維的體現 29
第一節 創作動機 29
第二節 東方哲學 32
第三節 量子力學 35
第四節 柏格森的時間觀 40
第四章 自我音樂語言於聲響上的體現 45
第一節 創作想法與作品概述 45
第二節 曲式結構與核心音高使用 47
第三節 《赫密士主義文句引用》樂段 50
第四節 《知》樂段 63
第五節 《覺》樂段 67
第六節 《眾神的遊樂場》樂段 74
第七節 《在》樂段 76
第五章 結語 79
參考資料 81
附錄（《Netti Netti》樂譜） 83

外文專書、期刊

Boehmer, Konrah, “Stockhausen’s Spirituality”, Contemporary Music and Spirituality
(2016): 198.

Coenen, Alcedo, “Stockhausen’s Paradigm: A Survey of His Theories”, Perspectives of
New Music, Vol. 32, No. 2 (1994)

Harvey, Jonathan, “Spectralism”, Contemporary Music Review, Vol. 19, Part. 3 (2001)

Harvey, Jonathan, “How I Compose?”, musiques contemporaines, Vol. 18, No. 1 (2008)

Harvey, Jonathan, In Quest of Spirit: Thoughts on Music (University of California Press,
1999)

Hayne, Christopher John, “Structure depth in Jonathan Harvey’s Madonna of Winter
and Spring”, degree of PhD, School of Arts University of Surrey, 2015

Kennett, Chris, “Jonathan Harvey’s “Bhakti” for Chamber Ensemble and Electronics”,
Computer Music Journal, Vol. 27 (2003)

Kohl, Jermoe, “Into the Middleground: Formula Syntax in Stockhausen’s Licht”,
Perspectives of New Music, Vol. 28, No. 2 (1990)

Kirchert, Kay-Uwe, “Between Worlds: Reflections on Ritual in the Music of Giacinto
Scelsi”, The World of Music, Vol. 40, No. 1 (2011)

Palmer, John, Jonathan Harvey’s Bhakti for Chamber Ensemble and Electronics (New
York: The Edwin Mellen Press, 2001)

Peters, Günter, and Schreibe, Markr, “How Creation Is Composed: Spirituality in the
Music of Karlheinz Stockhausen”, Perspectives of New Music, Vol. 37, No. 1
(1999)

Stockhausen, Karlheinz, “How Time Passed By”, the English Edition of Die Reihe
musical journal, Vol. 3 (1959)

Thomas, Helen C., “Morphologies of Time in Stockhausen’s ‘Light”, Tempo, Vol. 62,
No. 245 (2008)



中文專書、期刊

楊定一。2017。《全部的你》。臺北：天下生活

楊定一。2018。《時間的陷阱》。臺北：天下生活

楊定一。2020。《轉捩點》。臺北：天下生活

楊定一。2020。《唯識》。臺北：天下生活

吉梅納‧卡納萊絲(Jimina Canales)。2019。《愛因斯坦與柏森之辯-改變我們時間
觀念的跨學科交鋒》(The Physicist And Ahe Philosopher: Einstein, Bergson, and the debate that changed our understanding of Time.)。孫增霖 譯。中國廣西：漓江出版社

魯立。〈謝爾西四首弦樂四重奏中的聲音主義觀及其實現〉。上海音樂學院博士學
位論文(2013)



網路資料

「史托克豪森：宇宙中的聲音」網站 (Stockhausen: Sounds in Space)
http://stockhausenspace.blogspot.com/2014/09/a-brief-guide-to-licht-pt-2-super.html

Pocknee, David, “Analysis of Quartetto No. 4 by Giacinto Scelsi”
http://davidpocknee.ricercata.org/writing/031_analysis_scelsi-quartet/david-pocknee_analysis_giacinto-scelsi-quartet-4.pdf

Ross, Alex,“The Messenger”, The New Yorker, Nov. 21, 2005.
 https://www.therestisnoise.com/2005/11/giacinto_scelsi.html

張君睿，〈「量子力學」如何天翻地覆的改變我們對世界的理解？〉，2018，https://pansci.asia/archives/137552

韋漢傑，〈柏格森的創造進化論〉，《人文》（香港人文哲學會，二ＯＯ五年三月，第一三五期）
https://www.thenewslens.com/article/69606