東西方音樂思維的時空維度-談西村朗的「再融合」暨自我創作

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2016

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「再融合」(Re-merger)作為音樂歷史發展的主軸,筆者從「對稱性音高結構」及「節奏週期」的實驗切入,進而探索「異音音樂」的織體寫作。 日本作曲家西村朗是眾多現代作曲家中倡議並實踐「再融合」之路最為明確的一位亞洲作曲家。西村朗於「異音音樂」織體耕耘多年且作品無數,文中以《雅歌III》、《星曼茶羅》、《光的環》和《蘇莫者》第一樂章為例,說明西村朗在時間和空間的作法。並介紹西村朗提出的四種「異音音樂」,雖然每種織體的作法不同,但是對於音高材料的選擇皆嚴謹。譬如:《星曼茶羅》使用十二音列、《蘇莫者》使用都節調式。 本論文以空間、時間與織體三個面向貫穿,第一章為緒論、第二章說明東西方音樂思維的時空維度、第三和四章說明西村朗的「再融合」、第五章介紹自我創作的實驗,最後,第六章作為結論。希望藉由西村朗的研究,反省自我之創作。
In the development of music history, “Re-merger” is one of the quintessential concepts in different periods of music history. Among the diversified devices/sources available in the contemporary music era, the symmetrical structure, rhythmic period/cycle and heterophony texture play the important role in forming my own music. The Japanese Composer Nishimura is regarded as one of the modern composers who stipulates the “Re-merger” concept and realizes it thoroughly in his compositions. Heterophony texture has played an important part in shaping Nishimura’s compositions. I would examine through the analysis of four of his works, Gaka III, Hoshi-Mandala, A ring of light and Somakusha (movement I), to investigate his approaches in dealing with the spatial and temporal dimensions in music and introduce the four types of Heterophony which he proposed in 1990’s. Although these four texture may not look the same, the pitch material selected for each texture is calculated meticulously to suit different musical purposes. For example, he uses the Twelve-tone technique for Hoshi-Mandala to symbolize the endless stars in the galaxy, miyakobushi onkai for Somakusha to represent the traditional Japanese court dance music. This article focuses on the three musical dimensions: space, time and texture. The first chapter serves as an introduction. The second chapter compares briefly the “space-time” concept between the Eastern and the Western music. The third and fourth chapter touches the “Re-merger” concept in the compositions of Mr. Nishimura. In the fifth chapter, I will introduce several techniques and approaches used in my own compositions. At the end, the sixth chapter is the summary. Through research of Mr. Nishimura’s thoughts and analysis of his compositions, I hope that I gain more insight on the “Re-merger” road.

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再融合, 西村朗, 音列, 中心音, 都節調式, 對稱性音高結構, 節奏週期, 異音音樂, Re-merger, Akira Nishimura, tone-row, center tone, miyakobushi onkai, symmetrical structure, rhythmic period, heterophony

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