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

dc.contributor潘世姬zh_TW
dc.contributorPan, Shyh-Jien_US
dc.contributor.author許育禎zh_TW
dc.contributor.authorHsu, Yu-Chenen_US
dc.date.accessioned2019-09-06T00:52:43Z
dc.date.available2018-08-01
dc.date.available2019-09-06T00:52:43Z
dc.date.issued2016
dc.description.abstract「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。zh_TW
dc.description.abstractIn 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.en_US
dc.description.sponsorship音樂學系zh_TW
dc.identifierG060290007M
dc.identifier.urihttp://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060290007M%22.&%22.id.&
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108212
dc.language中文
dc.subject再融合zh_TW
dc.subject西村朗zh_TW
dc.subject音列zh_TW
dc.subject中心音zh_TW
dc.subject都節調式zh_TW
dc.subject對稱性音高結構zh_TW
dc.subject節奏週期zh_TW
dc.subject異音音樂zh_TW
dc.subjectRe-mergeren_US
dc.subjectAkira Nishimuraen_US
dc.subjecttone-rowen_US
dc.subjectcenter toneen_US
dc.subjectmiyakobushi onkaien_US
dc.subjectsymmetrical structureen_US
dc.subjectrhythmic perioden_US
dc.subjectheterophonyen_US
dc.title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zh_TW
dc.titleThe Space-Time dimension between the Eastern and the Western Music – From the “Re-merger” Road in the Compositions of Akira Nishimura and Self-Compositionen_US

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