臺灣博碩士論文加值系統

本輔助文件包含兩個部分：擊樂獨奏曲《覺》譜面部分，以及闡述《覺》之音樂創作理念與素材手法、探究《覺》與經典擊樂作品連繫之文字說明部分。

擊樂獨奏曲《覺》完成於2014年，由〈始〉、〈覺〉、〈適〉等三個樂章組成。作品靈感來自筆者在人生道路上面臨的矛盾、衝突，在歷經無數挫折、碰撞後，終尋得以安適之心，坦然面對並得自在。樂曲中運用各種音程變化、音色轉換以及節奏組合，呈現出心境的轉變，刻劃出內心之衝擊、醒覺，並為這段時光留下記錄。

The supporting paper consists of two parts: the music composition Perception for solo percussion, and the statement of musical ideas, compositional materials and techniques, as well as the connection with the contemporary percussion classics.
Perception is a three-movement work for solo percussion, was composed in the spring of 2014. The composer was inspired by personal experience. The subtitles of the three movements, Inception, Perception, and Gratification, represent a spiritual journey of the composer. Various combinations of intervals, timbre, rhythm and performance techniques are elaborately created and executed in order to express the emotions, internal struggle, and spiritual epiphany in a period of the composer’s life.

演奏會曲目與輔助文件摘........................................i
Recital Program and Paper Abstract.......................ii
誌謝.....................................................iii
劉奕麟擊樂演奏會錄音........................................iv
索引......................................................v
表目錄....................................................vi
譜例.....................................................vii


序言.......................................................1
第一章 《覺》音樂創作之呈現與詮釋...............................3
第一節 〈始〉：給小鼓獨奏.................................3
第二節 〈覺〉：給鐵琴與磬.................................5
一、素材設計與音樂理念................................8
1.音高.........................................8
2.拍號及節奏...................................11
3.音色及聲音素材................................12
二、內在世界與詮釋...................................13
第三節 〈適〉：給綜合擊樂................................15
第二章 《覺》與經典擊樂作品之連繫...............................19
第一節 節奏韻律與拍號...................................19
一、節拍轉調........................................19
二、無理節奏........................................22
第二節 音色...........................................24
一、泛音...........................................25
二、揉音...........................................25
三、悶擊...........................................26
四、三角鐵棒敲擊鐵琴.................................27
結語......................................................28
參考文獻 ..................................................30
附錄：擊樂獨奏曲《覺》樂譜（含樂曲解說及特殊演奏記譜法說明）

（一）書目
Blades, James. Percussion Instruments and Their History. Westport, Conn.: Bold Strummer Ltd, 1992.
Larric, Geary. Analytical and Biographical Writings in Percussion Music. New York: Peter Lang Publishing, 1989.
Maconie, Robin. “Watching Time.” Other Planets: The Music of Karlheinz Stockhausen. Lanham, MD: Scarecrow Press, 2005.
Stone, Kurt. “Duration and Rhythm: Individual Items.” Music Notation in the Twentieth Century. New York: W. W. Norton, 1980.
黛比．福特。《黑暗也是一種力量》。黃漢耀譯。台北縣：人本自然文化事業，2005。
卡爾．榮格。《人及其象徵：榮格思想精華的總結》。卡爾．榮格主編。龔卓軍譯。台北縣：立緒文化，1999。

（二）論文期刊
Barrett, Richard. “Michael Finnissy- An Overview.” Contemporary Music Review, Volume 13, Issue 1(1995): 39.
Bernard, Jonathan and Elliot Carter. “An Interview with Elliott Carter.” Perspectives of New Music Vol.28, No. 2. Summer, 1990.
Bortz, Graziela. “Rhythm in the Music of Brian Ferneyhough, Michael Finnissy, and Arthur Kampela.” PhD diss., City University of New York, 2003.
Schick, Steven. "Multiple Percussion." In Encyclopedia of Percussion --2nd edition, edited by John H. Beck, 292-293. New York: Routledge, 2007.
駱淑嫈。〈若利維的音樂語法分析以《瑪納》鋼琴曲集之〈波九來〉為中心〉《南藝學報》3 (2011): 175-198。

（三）樂譜
Carter, Elliot. Eight Pieces for Four Timpani. New York: Associated Music Publishers, 1995.
Crumb, George. Madrigals, Book 1. New York: C.F. Peters Corp., 1971.
Denisov, Edison. Nuages Noires pour Vibraphone Solo. Leipzig: VEB Deutscher Verlag für Musik, 1997.
Finnissy, Michael. Hinomi for Solo Percussion. London: United Music Publishers, 1979.