音樂「陌生化」與《狂想曲》、《對話遊戲》、《重生》的創作理念

Abstract

二十世紀以降，由於經濟的蓬勃發展，社會快速變遷之餘，世人總是顯得徬徨而焦慮。當代藝術家在這全球化的時代尋求突破，音樂家也為創新而發展出諸多前所未見之聲響、素材、音樂技法與記譜。例如，作曲家突破調性的範疇，將音列解構後再重組，逐步出現「半音主義」、「序列音樂」、「全面序列主義」等手法，甚至使用徹底擺脫各種音列規律的「機遇音樂」；而音色方面，除了開發各種樂器的演奏法，「電子音樂」也是當代音樂重要的一環。 作曲家不斷嘗試向極端挑戰以追尋獨一無二的聲音，近年來，作曲家常稱上列這些嶄新的創作手法為「陌生化」，然而，「陌生化」該如何運用，以及是否同字面之意的疏離與陌生，則是本論文欲探究的重點。本論文自「陌生化」之源起出發，從各類當代藝術聚焦音樂，並以「調性開放與旋律、和聲觀」、「樂曲架構觀」、「節奏觀」等三大觀點分析名家作品中「陌生化」的使用，最終回歸到自身創作來分析寫作手法，並討論「陌生化」之意涵及分享研究心得。Given the background of fast economic development in the 20th century, which leads to people’s anxiety, contemporary artists spare no efforts to provide an escape. In order to fulfill the requirements, musicians work hard to develop various sounds, materials, techniques, and notations which were barely used in the past. Composers especially devote themselves to making a breakthrough in the tonal system and reconstitute the scale formations. Gradually, numbers of techniques such as “chromaticism”, “serial music”, “total serialism” and“electronic music”emerge. “Aleatory music” like tossing a dice and diverse articulations have become essential elements in the contemporary music. Composers endeavor to produce unique sounds. Those new composing skills are named“defamiliarization.” However, whether the term means unfamiliarity or not and how it is adopted in the music are the main points in the essay. The writer starts with a description of the origin of“defamiliarization”, then followed by an overview on “defamiliarization” used in various arts such as literature, drama, dance, painting, and music. In addition, she focuses on “defamiliarization” in the musical works of the 20th century and analyzes it from three angles: “the opening of the tonality, melody, and harmony”, “the music structure”, as well as “ the rhythm”. Finally, the writer comes back to her own works and redefines the meaning of “defamiliarization” as well as its use.