配樂不陪襯－以電影《怪談》與《2001太空漫遊》為例以及在自身創作上的運用
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2021
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電影配樂從後浪漫時期跟發展至今，風格百花齊放，從管弦樂到電子樂，都能在現今電影中尋得。然後，當我們於當今電影之中，談論配樂手法時，似乎大多是以陪襯或形容的方式，運作在影像結構之中，為劇意提供不同維度的感官支撐。這不禁讓筆者好奇，一般敘事電影中，是否擁有讓音樂主導的可能？
筆者嘗試以研究1960年代的兩部電影與其配樂的關聯，從《怪談》使用具象音樂的手法，以至《2001太空漫遊》對於古典音樂片段的選擇與使用。筆者以作曲家、或導演的不同視角來觀察並論述，最終試圖應用所學，反映在自身的新創作品《此時此刻...》之中，並期望從中一窺未來聲音與影像之間對話的多重角色關聯。
From the post-romantic period to the present, film music has developed in a variety of styles, which crossing from acoustic orchestra music to the electronic music, both can be found in today's film socre fomula easily. However, when we talk about music technique in today's movies, It seems that most of them operate in the image structure in the way of foil or description, providing sensory support of different dimensions for the meaning of the drama. Out of curiosity, is there a chance that a movie could lead by music from the fundamental level in general narrative films? This thesis begins with analysis of relationship between two films in the 1960s and their soundtracks: theuse of musique concrète in Kwaidan to the selection and use of classical music fragments in 2001: A Space Odyssey. The author, CHEN, Yu-Sheng, observes and discusses from different perspectives of composers and directors, and finally tries to apply what author has learned to reflect it in the new work At This Moment..., hoping to have a glimpse of the multi-role relationship between sound and image in the future.
From the post-romantic period to the present, film music has developed in a variety of styles, which crossing from acoustic orchestra music to the electronic music, both can be found in today's film socre fomula easily. However, when we talk about music technique in today's movies, It seems that most of them operate in the image structure in the way of foil or description, providing sensory support of different dimensions for the meaning of the drama. Out of curiosity, is there a chance that a movie could lead by music from the fundamental level in general narrative films? This thesis begins with analysis of relationship between two films in the 1960s and their soundtracks: theuse of musique concrète in Kwaidan to the selection and use of classical music fragments in 2001: A Space Odyssey. The author, CHEN, Yu-Sheng, observes and discusses from different perspectives of composers and directors, and finally tries to apply what author has learned to reflect it in the new work At This Moment..., hoping to have a glimpse of the multi-role relationship between sound and image in the future.
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具象音樂, 武滿徹, 怪談, 2001太空漫遊, Musique concrète, Toru Takemitsu, Kwaidan, 2001: A Space Odyssey