臺灣博碩士論文加值系統

二十世紀二次大戰後，序列主義（Serialism）興起，音列（series）的作曲手法已由傳統的十二音列（Twelve-Tone System）過渡到整體序列化（Integral Serialism），不再限於音高上的排列組合，而是擴及至音值（Duration）、力度（Dynamics）、速度、音域及音色（Timbre）等音樂層面。作曲家米爾頓•巴比特（Milton Babbitt, 1916 –）可稱為美國當代整體序列化的濫觴。

本研究主要透過巴比特的作品《All Set, for Jazz ensemble, 1957》的分析，來
探索作曲家在樂曲中的音樂思維及創作技巧，並作為接觸其音樂理論的初步。在分析方式上，採用音類集（Pitch-class Set）的分析手法，由最基礎的音高層面切入，再尋找隱藏於樂曲中，除音高之外，其餘序列化的音樂元素。此外，由於出身數學的背景，巴比特在音樂理念上亦結合了數學的概念，他注重邏輯及秩序，提高了音樂中理性的層面；例如，他將集合體（aggregate）與維數（dimension）等由數學衍生來的概念運用在音樂創作上，是故其音樂作品常富於科學精神。巴比特的音列理論雖源於早期十二音列的作曲手法，但他卻突破傳統的藩籬，將音樂元素的控制發揮到極致。

在《All Set》中，巴比特尚融合了爵士音樂的元素，除了配器外，甚至擴及至音樂的創作理念。作曲家結合了兩種極端且對比性的音樂類型，一為代表嚴謹與控制性的序列音樂，二為代表自由及開放性的爵士音樂。此研究中亦嘗試尋繹樂曲中兩者之間的關聯性。
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音樂會曲目

1. 信望號 為三支小號
2. 五重奏 為單簧管、兩把小提琴、中提琴及大提琴
3. 極短篇˙3 為鋼琴獨奏
4. 雙溪 為女高音、中音長笛、大提琴及鋼琴
5. 室內管絃樂曲三章
6. 銅管六重奏 為兩支小號、兩支法國號、長號及低音號

As Serialism arises after World War II in the twentieth century, serial techniques made a transition from twelve-tone music to integral serialism. A series was no longer restricted to the domain of pitch, but expanded to include duration, dynamics, tempo, register, and timbre. The contemporary composer Milton Babbitt (1916 –) is regarded as the pioneer of integral serialism in America.

Through the analysis of Milton Babbitt’s piece “All Set, for Jazz Ensemble, 1957”, this thesis will explore the musical thinking and creative techniques of a composer’s piece, and serve as an initial step towards the fundamentals of a developing music theory. The Pitch-class Set analytic method will be used in this thesis. The technique is first employed by looking at the basics of pitch, then delving into what is hidden in the piece, apart from pitch, in the arrangement of musical elements. In addition to Babbitt’s mathematical background, the integration of mathematical concept and musical theory is evident in his pieces. His focus on logic and discipline has increased the sensibility of musical layers. For instance, he implemented aggregate and dimension from a mathematical point of view into his musical creativity, to liberate the musical thought which is otherwise full of the scientific spirit. Although Babbitt’s serial techniques originated from the early twelve-tone system, he has revolutionized the traditional barrier, allowing the use of musical elements to be optimized.

In “All Set”, Babbitt has immersed the elements of Jazz music, including its
specific style of instrumentation into the idea of musical composition. The composer has combined extreme and contrasting ends of musical types, one being serial music which represents seriousness and control of musical arrangement, the second being Jazz music, representing the flexibility and openness. This research is therefore intended to search out and convey the remarkable relationship of these two different styles.
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Recital Program
1. Fanfare for three trumpets
2. Quintet for clarinet, two violins, viola and violoncello
3. Three Piano Pieces
4. Two Rivulets for soprano, alto flute, violoncello and piano
5. Three Movements for chamber orchestra
6. Brass Sextet for two trumpets, two horns, trombone, and tuba

謝誌 i

目錄 ii

第一章 緒論 1

第二章 作曲家之生平與音樂風格

第一節 生平介紹 2

第二節 音樂風格與作品 4

第三章 爵士樂素材的運用

第一節 爵士樂概論 7

第二節 樂曲中的爵士樂素材 14

第四章 作品《All Set》之樂曲分析

第一節 名詞解釋與理論概述 17

第二節 原始十二音列中的音類集 21

第三節 排列的音程模式之分析方式 25

第四節 集合體的運用 31

第五節 音列與維數的關係 37

第六節 獨立地位的低音提琴 44

第七節 配器的運用 46

第八節 節奏的運用 61

第五章 結論 69

參考文獻 71

中文部分
王尹秀著，台灣對爵士樂的接受探討，台北：東吳大學音樂研究所碩士論文，2003[民92]。
王秋海著，爵士樂，台北：揚智文化，1997[民86]初版。
李文彬著，從斯特拉溫斯基與繁音音樂探討爵士在新調性音樂的創作運用，台北：桂冠出版社，2002[民91]初版。
何孟蒔著，論爵士樂與古典音樂創作技巧之混合，台北：國立台灣師範大學音樂研究所碩士論文，1999[民88]。
郭志浩編著，一夜變成爵士通，台北：世界文物，2000[民89]初版
潘皇龍著，現代音樂的焦點，台北：全音樂譜，1999[民88]三版。
黎時潮、張清志著，爵士樂的故事，台北：城邦文化，2000[民89]初版。　
E. J. 博羅夫斯基及J. M.博溫著，貓頭鷹編譯小組譯，數學辭典，台北：城邦文化，1999[民88]初版。
Daintith, John, and R. D. Nelson著，余文卿、謝暉光譯，牛頓數學辭典，台北；牛頓，1997[民86]初版。
Kamien, Roger著，王美珠等譯，音樂認識與欣賞，台北:麥格羅.希爾，2002[民91]初版。
Sutro, Dirk著，黃勛秋譯，爵士樂天才班，台北：大塊文化，1999[民88]初版。

外文部分
Babbitt, Milton. Words about Music. ed. Stephen Dembski and Joseph N. Straus. Madison: University of Wisconsin Press, 1987.

Barkin, Elaine, and Martin Brody. “ Babbitt, Milton,” The New Grove Dictionary of Music and Musicians, 20vols., ed. Stanley Sadie. London: Macmillan, 1980, vol. II, 283-289.
Bent, Ian. Analysis. New York: W. W. Norton, 1987.
Brindle, Reginald Smith. Serial Composition. New York: Oxford University Press, 1966.
. The New Music: the Avant-Garde since 1945, 2nd ed. New York: Oxford University Press, 1987.
Coker, Jerry. Listening to Jazz. Upper Saddle River, NJ: Prentice Hall, 1981.
Collier, James Lincoln. Jazz: the American Theme Song. New York: Oxford University Press, 1993.
Cope, David. Techniques of the Contemporary Composer. 7th ed. New York: Schirmer Books, 1997.
. New Directions in Music. Prospect Heights, IL: Waveland Press, 2001.
Dallin, Leon. Techniques of Twentieth Century Composition. Dubuque, IA: Brown, 1974.
Ewen, David. Composers of Tomorrow’s Music. Westport, CT:
Greenwood Press, 1971.
Feather, Leonard. The Book of Jazz. New York: Horizon, 1976.
Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973.
. The Harmonic Organization of “ The Rite of Spring. ” New Haven: Yale University Press, 1978.
. The Atonal Music of Anton Webern. New Haven: Yale University Press, 1998.
Gridley, Mark C. Jazz Styles: History & Analysis, 7th ed. Upper Saddle River, NJ: Prentice Hall, 2000.
Griffiths, Paul. Modern Music: A Concise History from Debussy to Boulez. London: Thames and Hudson, 1984.
. The Thames and Hudson Encyclopaedia of 20th-Century Music. New York: Thames and Hudson, 1986.
. Modern Music and After. New York: Oxford University Press, 1995.
Himo, Ethan. Schoenberg’s Serial Odyssey: The Evolution of his Twelve-tone Method, 1914-1928. New York: Oxford University Press, 1990.
Jost, Ekkehard. Free Jazz. New York: Da Capo, 1981.
Karolyi, Otto. Introducing Modern Music. New York: Penguin Books, 1995.
Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. Englewood Cliffs, NJ：Prentice Hall, 1990.
Lester, Joel. Analytic Approaches to Twentieth-Century Music. New York: W. W. Norton, 1989.
Machlis, Joseph. Introduction to Contemporary Music. New York: W.W. Norton, 1985.
Mead, Andrew. An Introduction to the Music of Milton Babbitt. Princeton: Princeton University Press, 1994.
. Perspectives on American Music since 1950. Edited by James R. Heintze. (Milton Babbitt at Eighty.) New York: Garland, 1999.
Morgan, Robert D. Twentieth-Century Music. New York: W. W. Norton, 1991.
Perle, George. Twelve-tone Tonality. Berkeley, LA: University of California Press, 1977.
. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern, 6th ed., LA: University of California Press, 1991.

Schoenberg, Arnold. “Composition with Twelve Tones,” in Style and Idea. ed. Leonard Stein, trans. Leo Black. Berkeley, LA: University of California Press, 1984.
Schuller, Gunther. Early Jazz: Its Roots and Music development. New York: Oxford University Press, 1986.
Straus, Joseph N. Introduction to Post-Tonal Theory. Englewood Cliffs, NJ: Prentice Hall, 1990.
Tirro, Frank. Jazz: A History. New York: W. W. Norton, 1977.
Whittall, Arnold. Music Composition in the Twentieth Century. New York: Oxford University Press, 1999.
Zinn, David. The Structure and Analysis of the Modern Improvised Line. New York: Excelsior, 1981.

樂譜
Babbitt, Milton. All Set for Jazz Ensemble. New York：Associated Music Publishers, 1957.

有聲資料
SPECTRUM-New American Music, performed by The Contemporary Chamber Ensemble. Electra Nonesuch 9 79222-2, 1990. Compact disc.