斯克里亞賓《普羅米修斯》 與新世紀音樂之關連及對個人音樂實踐的啟示
Abstract
本論文第一部分以斯克里亞賓的《普羅米修斯》為探討重點，先回顧作曲家的生平事蹟及追溯其創作背景、思想脈絡，再由各個角度探討神秘和弦在曲中的運用方式。針對斯克里亞賓在曲中對色調的安排與設計，撰者尋找出其與瑜珈七脈輪理論的對應關係，並推論斯克里亞賓的《普羅米修斯》是早期的脈輪音樂代表作，斯氏在音樂中尋求天人合一的極致的神智學會思想，是超越時代與東、西方文化藩籬的作品。
第二部份從《普羅米修斯》裡的神祕主義思想延伸至新世紀音樂的創作美學，並與個人的創作理念相對照，提示出其對個人創作的啟發與實踐經驗，並試圖歸納出東方音樂創作美學的要點。
The first part of this dissertation focuses on Scriabin's Prometheus, which look into the composer's life, and the philosophical background of his creative activity. Then it studies each angle of the mystic chord in the piece and how it is applied into the music. The writer searches the relationship between Scriabin’s Key-color scheme and the colors of the seven chakras, argues that Scriabin's Prometheus is an anticipating masterpiece of early chakra music. The music of Prometheus seeks the “all in one” philosophy that exists in Theosophical society, and is a work that goes beyond the Eastern and Western cultural barrier. The second part of the dissertation explores the relationship between the mystical thoughts that is inherent in Prometheus and the new age music aesthetics, from which the writer draws out the composing techniques and sets examples of her own compositions. Inspired by her own experiences and practices, the writer attempts to sum up the main points of Oriental music aesthetics and its realization in contemporary music writing.
The first part of this dissertation focuses on Scriabin's Prometheus, which look into the composer's life, and the philosophical background of his creative activity. Then it studies each angle of the mystic chord in the piece and how it is applied into the music. The writer searches the relationship between Scriabin’s Key-color scheme and the colors of the seven chakras, argues that Scriabin's Prometheus is an anticipating masterpiece of early chakra music. The music of Prometheus seeks the “all in one” philosophy that exists in Theosophical society, and is a work that goes beyond the Eastern and Western cultural barrier. The second part of the dissertation explores the relationship between the mystical thoughts that is inherent in Prometheus and the new age music aesthetics, from which the writer draws out the composing techniques and sets examples of her own compositions. Inspired by her own experiences and practices, the writer attempts to sum up the main points of Oriental music aesthetics and its realization in contemporary music writing.
Description
Keywords
《普羅米修斯》/神祕主義作品, 神智學會, 瑜珈, 禪宗/意識流/美學, 抽象表現主義/行動繪畫, 東方音樂創作