由分析喬納森‧哈維作品《梅湘之墓》 至自身音樂創作上的應用

Abstract

當代極富盛名的英國作曲家喬納森‧哈維（Jonathan Harvey, 1939- ）在音樂上有著獨特的想法及語彙，他將哲學和宗教上的思維連結至音樂當中，其發自內在的靈魂聲響，使音樂語言的可能性，昇華至另一個層次，故被讚譽為最有靈魂的英國作曲家。其作品編制種類豐富，涉及了器樂以及電子音樂，創作了多首電子音樂史中經典的作品，《梅湘之墓》（Tombeau de Messiaen, 1994）即為其中之一。 《梅湘之墓》是哈維為了紀念法國作曲家梅湘（Olivier Messiaen, 1908-1992）而作，此曲兼融諸多二元的角色，如電子音樂之於鋼琴、自然純律之於十二平均律、單旋律之於和弦等，這些角色皆巧妙地被融合。受此影響，筆者嘗試運用包容二元的思維以及頻譜和聲之概念，體現在自身的創作中，以一首結合古箏獨奏與電子音樂的作品，尋找其中獨特的聲響。

關鍵字：喬納森‧哈維、頻譜樂派、電子音樂、梅湘The English composer Jonathan Harvey (b.1939) has distinctive thoughts and expressions on music. Since he has been linking philosophical and religious insights with music, the voices and sounds rooted deeply within his soul has transcended musical expressions to a completely new level. Therefore, he is praised as the most spiritual English composer. His works embrace vast category, from instrumental music to electronic sounds. He gave birth to many of the classics amid thehistory of electronic music, with Tombeau de Messiaen (1994) being one of them. Tombeau de Messiaen was composed in honor of the French composer Olivier Messiaen (1908-1992). The piece ingeniously unified many elements that are diametric in nature, such as the electronic music as to piano, harmonic series as to the 12 equal temperament, and melody as to chord. Having been inspired by Harvey, the author attempted to implement the concepts of encompassing the opposites as well as harmony in her own work- a piece that combines guzheng and electronic music from which one quests the unique sound.

Keywords: Jonathan Harvey, Spectral Music, Electronic Music, Olivier Messiaen.