臺灣博碩士論文加值系統

本論文為新音樂劇場作品《「謎」宮》之輔助文件。《「謎」宮》為一齣 為兩支單簧管、兩支大提琴與兩位打擊樂家的新音樂劇場作品，在此作品當中，筆者試圖將劇本的台詞依照其含義、詞性、語調的差別，轉譯成音樂元素 中不同的音高、音程、節奏組合、音樂動機設計與演奏法，目的在嘗試讓「音樂」能夠具備如文字的象徵、指示之符號功能，進而在不使用任何口語文字的狀況下達到敘事功能。除了音樂轉化文字的系統產生以音樂對話的戲劇情境之外，《「謎」宮》也加入了聲音物件(Sound Object)、電子音樂等不同媒材，與使用器樂的音樂對話產生對比。透過上述不同的音樂表現方式，使作品能同時 具備兩條故事線，打破單一敘事焦點的框架，以突顯《「謎」宮》故事情節中 的荒謬、弔詭的特質。
筆者將本論文架構分為四個章節，第一章為緒論，簡述本作品與不同媒材 之間的關聯;第二章為創作理念的闡述，包含動機、樂曲概念、應用技術與相關作品的介紹分析;第三章為本作《「謎」宮》的樂曲解析，包含音樂素材、段落、舞台設計(燈光與空間)、文本設計與前章節所述的技術如何被應用到 本作品，並詳述文字與音樂之間轉換的邏輯系統與譜面對應;第四章為結語。

"Mystery of the Maze” is a composition for a new musical theater for two clarinetists, two cellists, and two percussionists. This composition tried to translate the lines of the script from words to music, so that the dialogues between two players A and B, can be spoken in a musical way by cellos and clarinets. For making music having symbolic functions like textual symbol, words, "Mystery of the Maze” used different pitches, intervals, rhythm, and articulations to symbol every single word. In addition to creating a brief motivation to express one word (thing), like what Wagner already did in his “Musikdrama” compositions, "Mystery of the Maze” considered the original features of words, using the different music gestures to tell different parts of speech.
The piece has two storylines at the same time to highlight the absurd and paradoxical plot: one man tried to leave the maze but always failed, while another one had given up leaving and attempted to start a conversation with him all the time. Finally, the two characters who left the maze were C1 & C2 who seemed not the main characters in this drama throughout the time.
The thesis is a supporting document for the musical theatre work "Mystery of the Maze” which includes four analyzing chapters. Chapter 1 briefly describes the content of “Mystery in the Maze” and the relationship between this work and different media; Chapter 2 explains my composing motivation, the relationship between music and language, the way how music can be applied in semiotics and examples. Chapter 3 analyses the core ideas in "Mystery of the Maze”, including music materials, the plots of my own script, stage design, and the electronic techniques applied in this work. The final chapter is the conclusion of the thesis.

中文曲目表 ................................ i
摘要 ..................................... ii
Recital Program ......................... iii
Abstract ................................ iv
目錄 ..................................... v
表目錄 ................................... vii
圖目錄 ................................... viii
譜例目錄 ................................. ix
第一章 緒論 ............................... 1
第二章 《「謎」宮》創作理念 .................. 3
第一節 創作背景與動機 ....................... 3
第二節 相關文獻與作品回顧 .................... 7
一、語言和音樂的關係 ....................... 8
二、音樂作為符號使用........................ 12
第三章 《「謎」宮》作品分析與詮釋 ............. 18
第一節 劇本與核心概念 ....................... 19
一、「荒誕派戲劇」元素 ...................... 19
二、《「謎」宮》角色與故事涵義 ................ 23
第二節 樂器編制與舞台規劃 .................... 25
一、樂器編制 .............................. 27
二、舞台整體規劃 ........................... 27
第三節 音樂設計 ............................ 38
一、音高樂器的音樂設計 ...................... 39
二、非音高樂器的聲音設計 ..................... 61
第四章 結語 ................................ 65
參考文獻 ................................... 67
附錄 ...................................... 70
附件一、作品《「謎」宮》總譜及註釋、舞台圖 ...... 70
附件二、作品《「謎」宮》氣球樂譜 ............... 95
附件三、作品《「謎」宮》劇本 .................. 97
附件四、作品《帕斯卡的鏡子》總譜 ............... 103
附件五、作品《我所知的》總譜 .................. 123
附件六、發表會節目單 ......................... 133

<中文書目>
王美珠。〈音樂與符號〉。《藝術評論》(2012): 67-97。
毛煜珊。〈拉威爾鋼琴曲《水之嬉戲》創作特徵及演奏風格〉。《大觀》9 (2014): 26。
姚小平。〈赫爾德的名著《論語言的起源》〉。《外語與外語教學》(1970): 52-54。
音樂之友社編。《華格納》。臺北:美樂。1999。
莊婕筠。《音樂治療》。新北:心理。2004。
董憲臣。《現代漢語語法述要》。臺北:蘭臺出版社。2016。
廖玉茹。〈重複與差異的等待——等待果陀、進城、車站之主題研究〉。《國文學報》58 (2015): 168。
鄧昌國。《音樂的語言》。臺北:大呂出版社。1998。
蔡振家。《音樂認知心理學》。臺北:國立臺灣大學出版中心。2013。
謝昀倫。〈音樂中的懷舊情感探討〉。《藝術評論》(2015): 101-145。
Keir Elam(基爾・伊拉姆)。《符號學與戲劇理論》。王坤譯。板橋:駱駝出版社。1998。
Arnold Hinchilffe(阿諾德・欣奇利夫)。《荒誕說——從????在主義到荒誕派》。劉國彬譯。 北京:中國戲劇出版社。1992。
Edward Wright(愛德華・賴特)。《現代劇場藝術》。石光生譯。臺北:書林出版有限公 司。1990。
Samuel Beckett(薩謬爾・貝克特)。《等待果陀》劉大任、邱剛健譯。台北:遠景出版社。 1981。

<西文書目>
Adorno, Theodor W., and Susan Gillespie. “Music, Language, and Composition.” The Musical Quarterly (1993): 401-14.
Brook, Peter. The Empty Space. New York: Scribner Book Company Press, 1995.
Herder, Johann Gottfried. “Treatise on the Origin of Language.” In Philosophical writings, ed and trans.
Michael N. Forster. Cambridge: Cambridge University Press, 2002.
Levman, Bryan. “The Genesis of Music and Language” Ethnomusicology (1992): 147-70.
Maess, Burkhard. “Musical syntax is processed in Broca’s area: An MEG study.” Nature Neuroscience (2001): 540-5.
Rousseau, Jean-Jacques. Essay on the origin of languages and writings related to music. Hanover: Dartmouth College Press, 1998.
Saussure, Ferdinand de. Course in general linguistics. Illinois: Open Court Press, 1986.
Schaeffer, Pierre. “Comparative Structures: Music and Language.” In Treatise on Musical Objects, 232-48. Oakland: University of California Press, 2017.

<樂譜>
Berlioz, Hector. “Symphonie Fantastique.” In Berlioz Werke, Serie I, Band 1, edited by Charles Malherbe, and Felix Weingartner. New York: Edwin F. Kalmus, 1970.
Mozart, Wolfgang Amadeus. “Requiem in D minor.” In Neue Mozart-Ausgabe, Serie I, Werkgruppe 1, edited by Leopold Nowak. Kassel: Bärenreiter-Verlag, 1965.
Ravel, Maurice. “Jeux d'eau.” In Piano Works, edited by Vladimir Sofronitsky. Moscow: Muzgiz, 1958. Wagner, Richard. “Das Rheingold.” Mineola: Dover Publications, 1985.

<網路資料>
MUZIK AIR 編輯部。〈科學家認證:音樂是共同的語言〉。MUZIK AIR。
https://read.muzikair.com/us/articles/8fd82d25-18b2-4290-83a4-cdc6abaff9ef(檢索於 2020/03/05)
Gander, Kashmira., and Rosie Mccall. “Scientists Confirm Music Is Universal, and It Is Used in 'Strikingly Similar Ways' Across the Globe.” Newsweek. https://www.newsweek.com/scientists-music-universal- globe-1473230 (accessed March 5, 2020).